GLASS 


~ Ps aoe»... 


PLaTE I, CAMEO VASE WITH BACCHANTES. AUGUSTAN ERA. Mrs. W. H. Moore 
COLLECTION. SEE PAGE 156. 


Fonds 
Chambon 


GLASS 


ITS ORIGIN, HISTORY, CHRONOLOGY, 
TECHNIC AND CLASSIFICATION 
TO THE SIXTEENTH CENTURY 


BY 


GUSTAVUS A. EISEN, Pu.D. 


“ASSISTED BY 


FAHIM KOUCHAKJI 


VOLUME I 


NEW YORK 
lo 
WILLIAM EDWIN RUDGE 


1927 


COPYRIGHT WILLIAM EDWIN RUDGE, P 
NEW YORK, 1927 


F 
i 
a a 
4 
” 
ve 7 \ 
- 
re 
i < uf 
< 
. ‘ 
if 
c4 
¥ : 
ec 
\! 
; k : 
iy ty t 


“DEDICATION 


THIS WORK IS DEDICATED TO MRS. W. H. MOORE 
OF NEW YORK, IN EVIDENCE OF THE WRITER'S 
REGARD AND IN GRATEFUL ACKNOWLEDGMENT 


OF HER GENEROUS COOPERATION. eeyir’ 


Wein ke 
| MT aa 8: on 


hy 


PREFACE 


BOUT fifty years ago art lovers found a new interest through the dis- 
covery of antique glass in Roman tombs near Cologne. While ever since 
the 18th century such glass had attracted attention, it was only with 
the discovery of an enormous quantity datable to the 2d and 3d cen- 

turies, A.D., that a new impetus was given to its study. 

These discoveries were followed by others in practically every country in Europe, 
while more recently, many thousands of specimens have been excavated in Syria, 
Tripolitania, Tunis, Algeria and Sardinia. Through these specimens it became evi- 
dent that the same types could be found in different countries and that the speci- 
mens had been distributed from a few centers of manufacture. 

To describe and trace the origin of these glass objects became the life work of a 
small group of enthusiastic investigators, foremost among them, E. aus’m Weerth, 
who composed. essays with new theories and conclusions on most of the types at his 
disposal. These investigations were published mainly in the serial, ‘““Bonner Jahr- 
biicher” which thus became the inexhaustible depository of our basic knowledge of 
antique glass. The crowning publication of all this research is Anton Kisa’s epoch- 
making work, ‘““Das Glas in Altertume” the result of which has been to give the 
science of ancient glass its proper place, side by side with numismatics, for the 
proper dating of ancient tombs and tomb objects. 

Since the time of Kisa many new types have been discovered and the need of a 
revision of many of the details of classification, chronology and interpretation has 
been felt and hoped for by many investigators. 

The system followed by the present author was to draw and reproduce in line 
work as well as in colors, as many specimens of ancient glass and beads as could be 
found in the museums of Europe and Africa. Later,on his return to this country, 
the same system was continued in the study of the many public and private col- 
lections which had been accumulated after the Metropolitan Museum acquired the 
Cesnola collection of Cyprian glass and other antiquities. Shortly after these ac- 
quisitions the Gréau and Charvet collections were incorporated in the same museum, 
which later became enriched, also through the gift of Mr. J. P. Morgan, with two 
collections of Merovingian and Frankish glass. The Curtis collection of Syrian glass, 
formed in New York, was donated by Mr. Libbey to the Toledo Museum of Art; 
the Freer collection was deeded to the National Museum of Washington, and other 
collections were acquired by the museums of Boston, St. Louis, Philadelphia and 
Brooklyn. Even many private collectors became interested in antique glass, the 
earliest American collector being the artist C. C. Coleman, whose collection, made 
in Italy, was described by Russell Sturgis in the Century Magazine, Aug. 1894, and 
later incorporated in the Thomas E. H. Curtis collection. The author has had ac- 


vii 


cess to all of these as well as to the Fahim Kouchakji collection, part of the latter 
being now in Berlin, part in New York. 

But extensive and important as these resources have been, it was not until the 
author had the privilege of studying the unrivaled collection of Mrs. William H. 
Moore that he believed that the time had come for a revision of the subject of 
ancient glass. Mrs. Moore consented to permit the use of her collection as a basis 
for the new review, on condition “that it shall contain an account of all principal 
types so that any collector could, without too much difficulty, classify or identify 
his or her specimens.” 

The collections named together with the series of line and water-color drawings, 
already mentioned, supplemented by numerous photographs, have been used in the 
composition of the present book. In specimens for illustration, both old and lately 
discovered types have been included in the line drawings, the effort being to present 
as many types as possible in a chronological sequence. But for the plates the newly 
discovered and most artistic specimens were preferred. Where possible the relative 
sizes of the specimens have been considered in the reproductions, but for the vast 
majority this was found to be impossible. The line illustrations, originally made by 
the author, have been redrawn in pen and ink for reproduction by Mr. Edward B. 
Edwards, who, besides being an artist, is also a discerning collector of glass. The 
plates are to a great extent made from photographs taken by the author, with others 
reproduced from procured photographs. 

The author has had much assistance from Mr. Fahim Kouchakji, as acknowl- 
edged on the title page. He is indebted to Professor R. Delbrueck of Giessen for 
information and literature; the late Professor William Henry Goodyear, himself an 
expert on modern glass, gave the author access to the large collection in the Brook- 
lyn Museum of Art and Science, while Mr. W. H. Fox, the Director of said Museum, 
later furnished a series of photographs of select specimens. Other photographs have 
been received from Miss Grace D. Guest, of the Freer Gallery, National Museum, 
Washington, D.C.; from Mrs. Phile Coulder Nye, of Princeton University; through 
Mrs. Wilford S. Conrow, of New York; from Professor A. Taramelli, of Cagliari, 
Sardinia; from Professor Berthollini, of Tripoli, Africa; from Professor Mariano 
Rocchi, Rome, Italy; and from Mr. Henry Kouchakji of Paris. Dr. R. Zahn, of 
Berlin, Dr. Blake More Godwin, of Toledo, Ohio; Count Kuhn de Prorok of Paris; 
Mr. Walter Bachstitz of Gravenhagen; Dr. Albert M. Lythgoe of Metropolitan 
Museum; the respective directors of the national museums of Copenhagen, Amster- 
dam, Munich, Nuremberg, Treves, South Kensington and the British Museum, 
have assisted by sending photographs or material for study, all of which have, as 
far as practicable been acknowledged in the text. Acknowledgment is also made to 
Mr. Walter M. Patterson of the Printing House of William Edwin Rudge, Inc., for 
his personal assistance. GAE 


New York, October 1, 1927. 


Vill 


CONTENTS 


EG SUSIE eae re xl 
Pemeurmteg aud Pigutes it Lines... 6 2 ek 6 ee ee ee xiii 
Part 1 General Reference to Origin: Matrices; Separate Parts; Decora- 
Mona typenand Their Nomenclature’ 6 3.04 Sa eo. I 
Part 1 Dates;Systemsof Symmetry; Chronological Periods... . . 85 
Pao ee Wie tasaitication of Types: Egyptian Periods. . . . . . i... 118 
Peereeteeemeomian Period andits Types. ... 1. 6 1 ee 128 
eee vewrrnina and Its Identification... . 5 6. ee et es 170 
Part vi Mosaic Glass; Characteristics, Classifications,and Types . . . 174 
Part vit Sidonian Rod-Glass, Ritual, Moulded, Lotus Cups; and Strati- 
TEEN Pith en, ly lL, Oe an aes ee 207 
Part vu Sidonian Glass with Moulded Mythological and Symbolic 
Reet ee mh ee 8 Ll UO ee ea agen 2) ae 231 
Part 1x First Century A.D.: Pompeii, Tripoli, Sardinia, Syria. . . . . a77 
meer © 1 ne oecond Century A.D. Period of Glass... . 2... 16 
Part x1 Third Century Glass: Syria, Egypt,Germany,Gaul. ..... 375 
Part xu Third and Fourth Century Vases with Ground-Out and En- 
PDR SRI STS: or. SAE ak Vinee ae wsdl oe RE 391 
Parr xm Domestic Glass of the Third and Fourth Centuries . . . . . . 423 
Part xiv The Constantinean Period of Ritual, Amuletic and Symbolic 
SMES MEO cia sd cee. ae ter HTC ek) Nig aaa 2 on ee 460 
Part xv_ Gold Glass ofthe Fourthand Fifth Centuries ........ 550 
Part xvi_ Ritual and Symbolic Glass of the Fourth and Fifth Centuries. . 582 
Part xvir_ Late Sassanian Plain or Simply Decorated Glass... ... . 612 
Part xvi Merovingian, Lombard, Frankish and ByzantineGlass . . . . 640 
eee segyptian and Arabic Glass. 703. bape ee 653 
Parr xx Glass Representations of the Sacred Vessels in the Legends of 
Ree cay Crt no Lc Mn tee oe inne ae eee 694 
Pence) Venetian and Other LateGlass 2.) - on. . te eg 8 718 
Part xx1t_ Chronology of the Origin and Progress of Glass Making . . . . 749 
EONAR) pac. icy, Sad ed let aR FeO T ode la ol ee 751 
SERED eS A Tes a ed oY Si ate oad Wedge RE Aree a 763 


saree SE AIS RM ae hp a 


PLATE I 
PLAYE 
PLATE III 
PLATE Iv 


PLATE Vv 
PLATE VI 
PLATE VII 


PLATE VIII 
Plate 1x 
PLATE x 


PLATES IN COLOR 


In Volume I. 
Cameo Vase with Bacchantes, Augustan Era... .. . Frontispiece 
Urn of Blue Glass with Enamel Decorations, Augustan Era. . . 89 
Pitcher of Blue and White Stratified Glass, Augustan Era . 279 
Mosaic Glass Patella and Lotus Cups, AugustanEra .... . 337 


In Volume II, 


The Damascus Gold-Glass Beaker, 4th Century A.D... . Frontispiece 


Gold-Glass Bottoms, Painted Technic. From Roman Catacombs 575 
Necklace of Mosaic Glass Medallions representing Christ and 

hg Ry RS I EB Se Sore Cees Pinter eae ED, «ine (ce AAU 641 
icant Enameled and Gilt Beaker’ 23.6%. ieee ee es 679 
The Jerusalem Enameled and Gilt Beaker. . . 2... 2... . 697 
mere DCT NSS VibGr ates | Gn Shs ee ite te" a, ss eee apie 721 


x1 


rete Y | . 
' Pt re 
7 ; y 
it 
; 
4 
4 
\ 
Jt 
¥ 
. 
, 
a ee! 
4 : - 
we 
) 
4 


ole 


PLATES AND FIGURES IN LINE 


FIGURE 
FIGURE 
FIGURE 
FIGURE 
FIGURE 
FIGURE 
FIGURE 
FIGURE 
FicurE 9 
FiGuRE Io 
FicuRE II 
FIGuRE 12 
FIGURE 13 
Ficure 14 
FIGURE 15 
Ficure 16 
FicureE 17 
Ficure 18 
FicurE Ig 
FIGURE 20 
PLATE I 
PLATE 2 
FIGURE 21 
FiGuRE 22 
FIcuRE 23 
Ficure 24 
FIGURE 25 
FicurE 26 
FicureE 27 
FIGuRE 28 
FicurE 29 
FicurE 30 
FIGURE 31 
FIGURE 32 
FIGURE 33 
FIGURE 34 


CON Dn PW YH 


In Volume I. 


Mouth Forms of Glass Vessels 
Peer mien... OT hey A ere Sy Ok 
Relative Size of the Mouth 
ed tnt tet ihc 6 SI CNY nk 1ty & 
Upright Collar Rims 
Lip Rim Forms 
Lip Collars 
Types of Trefoil Lip Rims 
meer iouth Manges’ fy aah l pte ee ta 
Dramecs Bepesc! te NECK. me) et 20 OG bs He 
Types of Junction Between Body and Neck 
Neckbase Bulge 
Types of Neck Decorations 
Shoulder Types 
Shoulder Types 
Neck and Shoulder Types 
OS OO a oe ee eer ne ae a 
Peewaenca Attn Handles 06... ee 
Loop Handles of Round Rods 
Flat Composite Handles 
Moulded and Carved Head in Two Tints of Blue Glass. . . . . 
ere vroand slase Vessels aah. Cire aH RAL 2 
Waved Handles 
Peecoan lray tlandies. 87. tc. eet, ee, ee 
“Finger Ring” Handles 
Horizontal and Basket Handles 
Types of the Upper and Lower Endings of Handles 
Methods of Attaching the Handles 
Loop Handles for Suspending Ring Decorations and Pendants. . 
fvees of Bases shia coe ae ee ee 
Base Types 
iivpesof Gases. 2. YS. ee eae ed Peep ae 
Bottom Forms of Moulded Patterns 
Main Types of Vase Foot 
Types of Stem and Foot Units 
Types of Stem and Foot Units 


ee es ek Oe Se ea Ren siege nes le 


eae a Se ee eee Se Meee eo 6 ae te 


ore 2 ee Oe Oe eee Skee.) Ge es eee So os ee ae 
eet 8 Ao. Rhee eee at ee Se eee ig tet) SY eee! me eee 6). Cetera 
ee ee eS er a @ ie, Oe” tae wie 8 ar eat ee ewer iene af ae ete 


Pe nei rah ary ag, Me Sat het 85) ee er eae sé ie OES 


id te i at el TO Sd AT 
a ee ee i OM i Oa Co a he tae Uke et tk ee ad a 
Ae * 6) © a Ce: 2 te ee 2 oF pep me oeeie ! .¢ @ Feces 
Ceo whe ey 8) 5 8 ei ie! Me a) Sg tat ee le ee Ot eee Pa) a ee ae 
eee! See? a ee eg eS 6 Se Sue eee KOM Mee, Om Ae ate 


ee Ne ee ew ee Pa Ter Wier ee, ss )'fe Gee 


Cee re eT a ee ee ee Sg wee ie.) fale Sig), 


6 et a far Send ga,” er Berea ew Me ee ate e em came e | aaa, fog 


8 a ete, ae a Per te we Ee See we erie © e Pe mere 
oe eee er Cie ee eee ie, a a ae, 
eal) Me, gh we 


‘a Pee Fae Oy ey eo 6. Ae a, Tee Sen ae 


oe 6 er Eh he wir isg ee ia Sle er De an he eo oe  ee e 2 wen Oe vee me 


ca "a 6 er “et eee”) lle lle ae! Or. 
OS ee i at Fer Se Ye Se ee ees” ae oe ee 
oe Te Ce i a Pa ce ae rae es «ere eee 


Ce ee ww? oe PS a re 6 Pree a pie) 


Xill 


FIGURE 35 
Ficure 36 
PLATe 23 
PLATE 4 
FIGURE 37 
FicureE 38 
FicuRE 39 
FIGURE 40 
FicuRE 41 
FicurE 42 
FIGURE 43 
FIGURE 44 
Ficure 45 
Ficure 46 
FIGURE 47 
Ficure 48 
FicurE 49 
FicurE 50 
FIGURE 51 
Ficure 52 
FIGURE 53 
FicureE 54 
FIGURE 55 
Ficure 56 
Ficure 57 
Ficure 58 
PLATE § 
PLaTE 6 
FiGuRE $9 
Ficure 60 
Ficure 61 
Ficure 62 
Ficure 63 
Ficure 64 
Ficure 65 
Ficure 66 
Ficure 67 
Ficure 68 
Ficure 69 
FiGuRE 70 
FIGURE 71 
FIGURE 72 


Types of Lamellated Decorations on MosaicGlass . ..... 32 
Applied Wave Threads: e504; 0). 4.3). 32 
Core-Wound Glass, XVIIIth and X1Xth Dynasties. . . . . . “| 
Core-Wound Glass,Egypt'. . 2. 0 + . o 2 35 
Dragged Wave'Decorationsfyiih 0... -) | 37 
Overlaid and Folded Thread Patterns. . . . . ‘> eee 38 
Applied Threads, Serpént Designs’ 5). 0... (a 38 
Waves Between Borderlines . 20. 0) oe 39 
Gutta Drop Incrustations, Disks on) 9. 4 | See 39 
Applied Drop Forms. 23.3). 20. 13..0 ee 40 
Drops Arranged as Rosettesand Grape Bunches .... .. . 40 
Applied Petals, Lotus Buds, Disks’, . 2G? Gap ee 40 
Applied Disks with Figures » 2. 172). eh ee ae 41 
Applied Animal Types.’> =. 20 See ee 41 
Salver, Waiter, Trulla, Platter, Patenon TopofChalice . ... 47 
Phial, Drinking Cups, Patella, and PateraBowls ...... . 47 
Measure and Drinking Cups!! 3): a ee 49 
Beakers, 3d to4th Century <: . 2°.) 9303) ee 49 
Goblet Types... 6.4 1. 4st) Lg gr 50 
Stem Beakets 20.0.0. 0. oy ce lee ce xe) 
Stem Gobléts 20... 0.0. 505 0°. 4 5 3 0a 50 
Chalice Typese o0/de.35. eee eee ME si 
Chalices and Carchestum Goblets. ©...) 35) 51 
Pottery Beakers 2 2... ost ae er 1 
Craters and Scodella Types «3.7 ia.) 4) ee 52 
Cantharus Goblets with Handles... .:1 » . 2 Yee ee ry: 
Core-Wound Amphorisks with Handles... ........ 53 
Gold-Glass Bottom with Amor and Psychein Relief. . . . . . 55 
Scyphus Goblets... .......... 3) 4) Re $7 
Scyphus Goblets*. 9...) GEES Se 57 
Acetabulum Bowls for Salads 5 o4i.. 2) - 20g) 57 
Calix Cups, Augustan Period 502) hn.) i), 57 
Cinerary Urns, Storage Urns; Jars i)..." "Si eee 58 
Lagonas and Demijohns: 3 4! lh ee 58 
Stamnium or Cylinder Flasks» ig 000 59 
Bottle Types .. 2... 4 a 4) ha 59 
Droppers.. i.) ee ee 60 
Ampulla or Ball Flasks . 0... 0. 2.) ee 60 
Holmos and Oil Flasksscce }) Gb) RP ee 61 
Kotyliskos and Prochus Flasks. 3... 2 2230. 2a ae 61 
Pitchers -,°.. 0.7). ss | sete PE Ee 62 
Wine Flasks...) ..,. Sense Ee 62 


FIGURE 73 
FIGURE 74 
FIGURE 75 
Ficure 76 
PLATE 7 
PLATE 8 
PLATE 9 
PLATE 
PLATE II 


PLATE 
PLATE 13 
PLATE 14 
FIGURE 77 
Ficure 78 
FIGURE 79 
FicureE 80 
PLATE I¢ 
PLaTE 16 
Ficure 81 
Ficure 82 
Ficure 83 
Ficure 84 
Ficure 85 
Ficure 86 
Ficure 87 
Ficure 88 
Ficure 89 
FiGuRE go 
FicurE 91 
FicuRE 92 
FIGURE 93 
FIGURE 94 
FIGURE 95 


12 


Ficure 96 


FicuRE 97 
PLATE 17 
PLATE 18 
PLaTE 19g 
PLATE 20 
PLATE 21 
PLATE 22 


paces | lanksior Bobtice pase ree tee uer i wet 2 oN 63 
NOTE Epa) vid) a igh cask a me ee 63 
etapulla Bottles; Common Types) %). wns ea ee 64 
Demir Aepnota ate ee. Wadsates Tet AER ene oe 64 
Pad-Glass Cups, about 2d to1st Century B.C... ...... 65 
Moulded and Ground Pad-Glass Cups, 1st Century B.C. 67 
SU ePOCANA CNG. | if OR PLN aoG PALQ Nee ety bole 4 69 
eernmiad ec slass Vase'>) ret EN ae he 71 
Cinerary Pad-Glass Urn with Stratified Glass Strips Fused in 

Et cg LU bea ey ame wha ei 73 
Pad-Glass with Enameled PaintedScenes. ......... 75 
BRE PALCTS |. ape AMADA ae legs SPEEA Pe 77 
Pad-Glass Urns of Blue Glass with Gutta Drops ....... 79 
Alabastrons, Balsam Vials, Columnar and Ritual Vials. . . . . 81 
0 SS eo Omen a A i Bane Coe ae 82 
Beret ine esas tt 1. Yano Ft Slew. eT ee PS 82 
Amuletic Bead Coverings of the Omphalosat Delphi... . . . 84 
Peonves ups, Augustan Era’ apeoaly J de Dingo i 2 gI 
emeorand Cameo. Vases. 5.2. te Let Eien Fae 93 
Development of Diagrams of theStaticSystem ....... 96 
prac oy stem Diagrams 70.8 1,2 oe alana ae 96 
Ponemne Systena Diaprame yd 2g hae eee Ys 96 
Dynamicoyetem Diagrams) ayia als62 4nd ea ony Ss 97 
Dynamic System Diagrams: 2°. 6.00) oa eI She S 97 
foymenncoystem Diagrams . «ji 4e ene Seis Ube, 97 
Brace oyetem Diagram <tt sole on a Ge ee 97 
ieeamicoystem Diagramink, ($08 <0 RR A a, whe Ss 97 
State oystem Diagram vss fore lecular eae) Tae: 98 
erect Diacram of Oil Blask 2-2 0) ees tA 98 
Dynamic Diagram of Four Sidonian Flasks ......... 98 
Beco ystem Diagrar «180i 5) ing eee Bay”: 99 
Pyenconcoystem Diagram . octal: Deg eea  ea 99 
Dyeamic System, Syrian Glass. 9. Ges ees, 2s 99 
Broulged Syrian Vase? %' 3). s) Sekns a Pe Sle 99 
aeame System Diagram (i 5. yaleth a PA pee ae a po 99 
iowo oot? Rectangles) 9, Sosa ee rk a) Rg 100 
ire Anidjo Cameo Vase! 2. yn SG ee 6 EF 103 
The Cameo Vase in the Bibliothéque Nationale... ..... 105 
ie Naples Cameo Amphora tl. compere aby) oa 107 
‘Lhe Naples Cameo Vase 3 Cpa eieien cena See 109 
Corresponding Details of the NaplesCameo Vase. . ..... III 
The Campana Beaker, and Arretine Bowl... .. 2... . 113 


XV 


Ficures 98-103 Types of Core-wound Egyptian Vessels... ...... 120 
Ficures 104-105 Pad-glass Objects of XVIIIth and XIXth Dynasties . . . 120 
Ficure 106 ‘The Sargon Vase ,.. gay 202 80 121 
Ficure 107. Late Ptolemaic Pad-glass Vase + ©. -,°./ <1" 121 
Pirate 23 Fragments of Moulded GlassandCameoGlass. ....... 123 
Piate 24. TwoMoulded Glass’ Tilesih9 2) ioe. ee 125 
Figure 108 Chessmen and Button Beads).). 2:0. . 8 VS 131 
Pirate 25 Intagliosand One Moulded ReliefofGlass ......... 135 
PLATE 26 FragmentsofColumnar MosaicGlass ........... 137 
Pirate 27 Columnar Mosaic Glass Tile,seemingly a portrait. ..... 139 
Pirate 28 Fragments of Rectangular MosaicGlassTiles. ....... 141 
Prats 29 Cups of Columnar Mosaic Glass.) -i hee Pe 143 
Prats 30 Mosaic Glass Plates) Si-y Si ee 145 
Puate 31. Columnar Mosaic Glass Plates! =." tine 147 
Pirate 32 Patella and Patera Bowls of Mosaic Glass;—Columnar Scrolls . 149 
Ficure 109 First Century A.D. Vessels with Foot-base Moulded in One 

with the Body if) Yor. a ee 151 
Ficure 110 Scyphus Cups, Augustan Era 24.7) ee 154 
Figure 111 . First Century Glass 2... 2 207.05 158 
Puate, 33 Cupsof Mosaic‘Glass” 2). \ is 98) ere 159 
Pirate 34 Plates. of Lamellated Mosaic Glass'):.” >). 7). Sane 161 
PratE 35 Cups of Rounded or Flattened Rods*) 1.9.2 eee 163 
PLaTE 36 Patella Cups of Moulded and Ground Pad-Glass. ..... . 165 
Pirate 37 Ribbed Banded and Moulded SphericalCups ....... . 175 
Pirate 38 Stemmed Bowl with Navel Cup). .°. 2). .° ee 177 
PiaTe 39 -Ptolemaic Lotus Cups of Silver 1. >°.)5 9 ee 179 
Pirate 40 Lotus Patera Cups with Moulded Ribs........... 181 
Puate 41. Lotus Patera Bowls, High Types\i).29o 2 ee 183 
Prate 42 Tube-Blown and Stratified Glass 79) (> ee 185 
PruaTe 43. Stratified Glass Vases)! 12) Si. a ee 187 
Pirate 44 Bottleof Blueand White Stratified Glass. ......... 189 
Figure 112 Units of Mosaic Rod Glass . 0585.4) 2 208 196 
PLATE 45 | Stratified Tubes (0. eeReS Rh 199 
Pirate 46 Three-Sided Blown and Moulded Dionysus Bottle. .... . 201 
Pirate 47 Three-Sided Blown and Moulded Dionysus Bottle, AnotherView 203 
Piate. 48 . The.Dionysus Beaker’... ,5 (20S) 205 
Figure 113 ,Sidonian Libation Cups’... Seay 9a" ee 213 
Pirate 49 . The Dionysus:Beaker; Actual Size..> G-2 0 ee 215 
Plate 50 Sidonian Moulded Glass Bottles...) ) 9s). 1) Ay Se 217 
Pirate 51 Sidonian Moulded Glass Flasks. . . . 1%. 2... 1 wa 219 
Pirate 52 Sidonian Blown and Moulded Ritual Flasks. . ....... 221 
Pirate. 53 TheArgonaut Vase® Wnt) Gy 20S yt ae 223 


PLATE 54 
FIGURE 114 
PLATE 
PLATE 
PLATE 
PLATE 
PLATE 
FEATE ~ 60 
FIGURE I15 


FiGuRE 116 
FicuRE 117 
FicurE 118 
FIGURE I1g 
FIGURE 120 
FIGURE 121 
FIGURE 122 
FIGURE 123 
FicuReE 124 
Pearse 61 
PaaTe . 62 
PLATE 
PLATE 
PLATE 
PLATE 
PLATE 
PLaTE 68 
FIGURE 125 
FIGURE 126 
PLaTE 69 
PLATE 70 
PiATe- . 71 
PATE 72 
FicureE 127 
FIGURE 128 
FicurE 129 
FiGuRE 130 
FicuRE 131 
Ficure 132 
FIGURE 133 
FIGURE 134 
Ficure 135 


Sidonian Blown and Moulded Flasks. . . . 2... 1... 225 
Sidonian Temple Series, Represented Sacred Vases... . . . 234 
Syrian Blown and Moulded Flasks... 2... .....02.2. 235 
Bunion Blown and Moulded Types: ose wisn soc. . 247 
Beton somotei an phorisks, i aak te ied Vie oa 239 
Sidonian Pyxis of Ivory Paste Glass with Life Symbols . 241 
ie] aigcstss Goblet ery 3-11 sei we MA. 8 2.43 
Syrian and Cyprian Victory CupsandGoblets ....... 245 
Sidonian, Temple Series Type with Six Represented Vessels in 

RMR NECUICHCOS 8. cs EE NW no OM RMT. Ge 247 
Sidonian, Ornithopolis Series with Storks. . 2... 2... 248 
Sidonian, Ornithopolis Series, Nesting Birds... . 2... . 249 
Sidonian, Represented Objects in the Processional Series . . . 249 
Sidonian Flask with LifeSymbols«; o/s. 6 nae). nee G 250 
Sidonian Bottle with PalestraObjects ........... 250 
Sidonian Bottle with Grapes, Pine Cones, and Pomegranates 251 
Sidonian Bottle with Life Symbols, Possibly Jewish . . . . . 251 
Sidonian Bottle with Jewish Etrog Citrons .. 2... 2... 262 
ee esreriaat Vase al. a er Se Re he a 254 
Moulded Syrian Gladiatorial and Victory Vessels . . . .. . 255 
eee sicony Pompettich > doy ako Ee VS AI LF s: S 257 
Blown and Moulded Beakers from Pompeii. . . ...... 259 
First Century Flasks from Cagliari,Sardinia ........ 261 
First Century A.D. Glass Vessels from Tripoli. . . . 2... 263 
First Century A.D. Glass Vessels from Tripoli ....... 265 
First Century A.D. Glass Vessels from Cagliari, Sardinia . . . 267 
Smo Vessels with Gutta: Drops 4). aA a 8 269 
asaiy cosels from Pompelitiys is i ctGi sly WAeen eae, 2h 277 
Porepemn Glass Vases, Foe) Ree LO a Eg 278 
Paper-Thin Glasses with Buckled Sides... . 2... 2... 281 


immements of Glass. Wi ON See we, BE 283 
Two Cups, Syrian Types, and a Cup Measure 285 
Bowls Blownand with Moulded Shieldsand Honey-CombMeshes 287 


ot ts? see ole ve eee |e) 


(lass Messels from Pompeii as 4 AE ane ee) 289 
Glass Vessels from Pompett, 2.77.55) ae ee |. Re. 290 
Bottles and Flasks from: Pompeii ayaa ee a 2gI 
Moulded Beakers from Pompeii. pai ee. HK 293 
Beakers with Lotus Buds from Pompeli. . . . 2... 2... 294 
Beakers with Moulded Lotus Buds, Pompeili . ....... 294 
Amphorisks from Pompeii \.0 Wists Rae Nee. ee 295 
Aryballos Oil Hand Flasks with DolphinHandles ..... . 295 
Prismatic and Other Unguent Flaskgaon Aas woe): BE 295 


XVil 


Ficure 136 
FIGURE 137 
FIGURE 138 
PLATE 
PLATE 
PLATE 
PLATE 
PLATE 
PLATE 
PLATE 
PLATE 
FIGURE 139 
FIGURE 140 
FIGURE I4I 
FIGURE 142 
FIGURE 143 
FIGURE 144 
FiGuRE 144 
PLaTE 81 
PiaTE 82 
PLaTE 83 
PLATE, | 84 
FIGURE 145 
Figure 146 
FIGURE 147 
FIGURE 147 
FiGuRE 147 
PLaTE 85 
PLATE 86 
PLaTE 87 
PLATE 88 
PLaTE 89 
PLATE 0 
PLATE gI 
PLATE 92 
FicureE 148 
FicurE 149 
FIGURE 150 
FIGURE 151 
FIGURE 152 
FIGURE 153 
FIGURE 153 


Pitcher Types of the Augustan Era 
Unguent Tubes, Ist to 4th Century 
Ampulla Bottles, 1st to 2d Century 
Blown and. Moulded Caput'Cup 2... so Eee 
Caput Bottles with Bacchus and Eros Heads 
Caput Jar with Faun Head 
Caput Flasks with Eros Face 
Libation Flask with Face of Moon Goddess 
Naturalistic, Caput, and Date Flasks 
Grape Flask and Grape Jar 
Amphorisks, Blown and Moulded 
Blown Vessels with Gutta Decorations 
Prismatic Cubic Flasks from Syria. 
Paper-thin Vessels, 1st and 2d Century 
Measuring Vessels, Modius Types 
Pottery Vessels, 1st to 2d Century 
I—Pottery and Glass Vessels from or near Cologne 
II—From Picardy, 2d to 3d Century 
Moulded Flasks, Syrian 
Tyche Ritual Flask 
Syrian Glasses 
Syrian Glasses 
Caput or Head Glasses... s. :ow ) ) Se 
Six-sided Flasks with Two Narrow and Rone Wide Sides. 
I-I1]—Ampulla Sprinklers 
IV—Low Ampulla Bottles 
V—Ampulla Jars 
Sprinklers with Inner Diaphragm 
Blown and Moulded Sprinkler 
Syrian Sprinklers with Inner Diaphragm 
Jars with Moulded or Applied Ribs 
Ampulla Flasks 
Ampulla Flasks, 96)... e.g AO aR 
Patella Sacrificial Cups and Amphorisk with Bracelet Lip . 
Cantharus Cups 
Patella Sacrificial Cups 
Beaker Types from 1st Century A.D. to Arabs 
Beakers with Crenulated Base Ring 
Cantharus and Carchesium Types 
Amphorisks of 2d Century A.D, ..0°%.)).0 a) 
I—Prochus Flasks 
II—Prochus Flasks and Related Types... ........ 


at ee PS a RP eae tee: pk meaty a aie 
RE TR ee ik Ve RCE res TR 


RL eM, Mi a Mf tl 


a bats aul gets ntl ae 
Pe Oe et ee ME YM TY 
One, Sie he MR We oS 
Pe er alc Ty 
Cee Oe a ee ee ou 
Cae eee Veet ee or ay Gee TTS OC 
Ce en Oe Se Se ee 
Bie! yet) et Eee intel eee 
ee Se Se ee SS aN te 
eee ORC A en WS Oe Tu 
ee ee ee ee er Ry 
ert Nae Te) gma 1 aeeee se all Tae ge 
Pon le wm es eee 
CC ND eeee ee SS a eS fle 
CE WE MP a NS 
PM Me ST Te 
Cit eee ees Me Me MP ee 


re ee ee NM A 


er coe Ma OM Re Cn ei he Aco 
Sete See me ee reo er Lk Se 
er a et Gee ee Oe a Se 
Se a be 
Sere ee em ee ky 
of FRAG gen, wanna 
Poe ee er i 


en ies a Oe Ce A MR UT A EE a ya 


PO ae Re a TT aie ls We Te 
ee ee MO ee ey es a ee oR 
ON eg eee ee 
Tee ee Pe ee ee ee rae Pe 


en ee SR cei ar Sergi Tat Wey tes) eka ree 


Ce eee I A i Ae ee ee es Me oe Te 


XVill 


PLATE 93 
PLATE 94 
FIcuRE 153 
FIGURE 154 
FicurE 155 
FicureE 155 
FIGURE 155 
Ficure 156 
Ficure 156 
Ficure 156 
FicurRE 157 


FicuRE 158 
FicuRE 159 
FicurE 160 
Ficure 161 
FicuRE 162 
PLATE 95 
PLATE 96 
Ficure 163 
Ficure 164 
FicureE 165 
Ficure 166 
Ficure 167 


Ficure 167 
PLATE 
PLATE 
PLATE 
PLATE 
PLATE 
PLATE 
PLATE 
PLATE 
PLATE 


103 
104 
105 


PLATE 106 
Ficure 168 
FicureE 169 


horace BeakerssGarmma ted amraen baths hi00E5 ry oom 363 
AIAN VCS 2- \ AR Bite aer ais <ihcnr a> aie! 6) ap Se 365 
IJ I—Flasks with Handles on a Central Neckband. .... . 367 
Bepresented: Vessels, Aumustan Wray sof iewiilaledeys! sa 5 367 
Peet Vina rical mlasks. Stamina jis) oi a Accdileie ae et A A 368 
DE taeaiia, 20 1 OCC Ed bi eden’ 3 chuiytemuh yi Gel «ne ok 368 
I1}—-Barrel Mlasks, Frontinus Stammnia..5, 660. 4). > + 368 
De SL LAS Sl i ge a ee pote cigs) ks 372 
Diemer rapering VV ine Plas bookie sees ght conde os as ar2 
Bermen rierarics OL ia g oe in es tcc eon calles) ¥ ne + 372 
RTS ANI CACC SES ha in Akl nonin ltnalet pms «dace a 373 
In Volume II. 

weste with Serpentine:Uhreads perce: cid wena 6 ce 377 
Later Vases with Serpentine Threads: ) a » ci gl). i 378 
Vases with Alternating Waves, 3d Century A. D. 379 
Reeeowith Poot-stand | vz!) s cress ahi Nia ak & 380 
iehatces, 2c to. sth. CentusyA-Di pet liane Wady: ake 382 
Glass Vases with Applied Serpent Threads ......... 383 
Punnel-Shaped Beakersor Lamps... .) «om. (ated 0 Be. 385 
Eos with Decorated Basses? te. say womeont sien et od 387 
Samos with superposed: Higures: #1245 coe 2 a a oe 388 
Vases with Applied Moulded Budsand Scales... ..... 389 
Vases with Proboscis, Tear and Drop Decorations ..... . 389 
I-I1I—Third Century Vessels with Engraved and Ground-out 

Retarationg.. 2-2 yaa eA eke so radliagett! ite ok ak 390 
IV—The Scene of the Worringen Beaker .......... 394 
Amphorisk with Ground-out OvalsandLines. .. 1... . 395 
Glass Vessels with Ground-out Ovalsand Lines ....... 397 
ibe yiotringen Beaker,...4 -..8) ) shee a cet 399 
nae. orringen Beaker... Jey us) ene eS 401 
Hngraved Blown4slass\ Vessels + 5-4 ausbiayeciadeer "0 Wea 403 
Two Painted Fragments of an Egyptian Glass Beaker. . 405 
Capa Painted with Earth Colorave:sanpsaine eee” gk mer 4 
Painted Cups. ofgd CenturpAIDs. mi eee hemes... 417 
Vase of Deep Blue Glass with Painted Ochre Decorations, and 

tooid-Gless Tile .. caxuce ot eareieiuae ss are Facet 5 1 Pere 419 
Painted Glass Bottlew.¢] decked alg tee eh ee 2. Se oe 421 
Third Century Beakers with Ground-out Ovals... . ... 423 
Jars with Ground-out Ovaletendicottsy: Pars we aE ee 423 


X1xX 


FIGURE 


FIGURE 
FIGURE 
FIGURE 
FIGURE 
FIGURE 
FIGURE 
FIGURE 
PLATE 

PLATE 

PLATE 

PLATE 

PLATE 

PLATE 

FIGURE 
FIGURE 
FIGURE 
FIGURE 
FIGURE 
FIGURE 
FIGURE 
FIGURE 
FIGURE 
FIGURE 
FIGURE 
FIGURE 
FIGURE 
FIGURE 
PLATE 

PLATE 

PLATE 

PLATE 

FIGuRE 
Figure 
Figure 
FIGURE 
FIGURE 
FIGURE 
FIGURE 
FIGURE 
FIGURE 


170 


171 
172 
173 
174 
175 
176 
177 
107 
108 
109 
IIO 
III 
112 
178 
179 
180 
181 
182 
183 
184 
185 
186 
187 
188 
189 
189 
18g 
113 
114 
115 
116 
190 
IgI 
192 
193 
194 
195 
196 
197 
198 


Page 
Third Century Beakers with Engraved Lines and Overlaid 


Threads 3 620). 0 ie ae ye ies <.s) 423 
Beakers of 3d to 5th Century with Foot-stand........ 424 
Tumblers and Conical Beakers'.- 00". . “0 424 
Pear-shaped Ampulla Flasks with Handles Ending on the Neck 426 
Vessels with Concave Decorations. ..... 2.) 2 ae 427 
Bowls with Pressed Concave Decorations. . .....4... 428 
Cups and Plates with Twisted RodRim .......... 428 
Basket Jars, 3d. to.4th CenturyA, Dog. s.. 3). 5 429 
Mouldedand Ground Pad-Glass Flask, and Flask of YellowGlass 431 
Two Beakers with Ground Lines, anda Prochus Flask . . . . 433 
Beakers with Ground-out Hexagonsand Ovals. ....... 435 
Basket Jars: 2.) ccnmuh ath gel Meee eens escheat a 437 
Basket Jars. .c.seae. 5! WS SORA daha sd aac 439 
Flask from Kertchin Crimea ic as \\-Uice oles 441 
Vases with Extravagant Zigzagged Handles... ...... 443 
Cup Types of 3d Century A:D. Gi oie We ee 444 
Ampulla Jars, 4th Century ALD. 4°. a) 445 
Ampulla Bottles with Wide and Short Neck. . . 2... . . 445 
Ampulla Bottles with Narrow Neck ............ 445 
Ampulla and Canteen Flasks...) 215810) = Gee 446 
Prochus Flasks, 3d Century A.Div a). 1. tk) 446 
Ampulla Pitchers, 3d Century-A.D.. 2, 9) 4). 447 
Slender Oiland Wine Flasks and Pitchers... ....... 447 
Slender Flask and Pitchers, 3d CenturyA.D. ........ 448 
Vases with Flutingsand ShallowArches .......... 448 
I—Unguent Bottlesand Tear Bottles. ........... 449 
II—Unguent Vials, “Candlestick” Type... ....... 449 
I1J—Unguent Vials, 3d to 4th CenturyA.D. ........ 449 
Glasses with Dragged Decorations.) *.92)..", a 451 
The Large Diatretum Beaker in St. Mark’s . ... 2... . 453 
Diatreta . ©. eaecacoe le ils) ve, ge A 463 
Vases of Uncolored Glass.::; \ See as ee 465 
Christian Symbols and Moulded Glass. .......... 467 
Moulded Symbols on ChristianGlass. . . ......... 467 
Moulded Christian Symbolson Glass... ......... 469 
Apotheosis of Christ on Moulded Glasses. . . ....... 471 
Christ Rising from the Grai:Chalice «a 220) 4h) 30 eee 471 
Holy Cross and. Flagellation Column...) .4¢%. 4 Sak Gale 472 
Christian Flask with Moulded Symbols. . ... ....... 473 
Flask with Christian Symbols in Moulded Relief. . . . . . . 473 
Moulded Flask with ChristianSymbols. .......... 474 


XX 


PLATE 

PLATE 

PLATE 

PLATE 

FIGURE 
FIGURE 
FIGURE 
FIGURE 
FIGURE 
FIGURE 204 
FIGURE 205 
FicuRE 206 
PLATE 121 
PLATE 
PLATE 
PLATE 
PLATE 125 
PLATE 126 
FIGURE 206 
FIGURE 207 
FIGURE 208 
FIGURE 209 
FIGURE 210 
FIGURE 211 
FIGURE 212 
FicuRE 213 
FIGURE 214 
FIGURE 215 
FicuRE 216 
Ficure 217 
FicureE 218 
FicuRE 219 
PLATE 1277 
PLaTE 128 
FIGURE 220 
FIGURE 221 
FIGURE 222 
FIGURE 223 
FIGURE 224 
FicurE 225 
FicurReE 226 
FIGURE 227 


VL9 
118 
11g 
120 
199 
200 
201 
202 
203 


124 


Flask, Uncolored Glass, with Convex Decorations 
Rinse Vase; Convemiecorations sists 40 7 3k. eh dk 
Six-Sided Flask, Uncolored Glass, Relief Decorations. . . . . 
Six-Sided Flask, Uncolored Glass, Relief Decorations. . . . . 
Flask with Moulded ChristianSymbols. .........~. 
Four-sided Flasks with Christian Symbols 
Flasks with Moulded Christian Symbols 

Flasks with Two Latin Crosses 
Flask with Christian or Sassanian Symbols 
Glass Jars with Jewish Old Testament Symbols 
pemeranioon Christian Glass) od ka) ay ek GW 
I—Christian Symbols on Glass 
Four-Sided Uncolored Glass Flask with Christian Symbols . . 
Four-Sided Christian Flask with Relief Symbols 
Six-Sided Flask of Dark Brown Glass 


er iets ‘e+ "elee ye Te 


clive shee d 9 en ‘sp fe 
‘Cee SA we Mee eee Ae 
Cre! Teuton tS li ela eS aaa W. Dee ge Me 
6 EN a bl Ber fe may Yo) As 


See as Be tae Te Cine 
SRO eK. 46 xt OOM ION Oh Ole) 8, ae ie Ap 


TRS CMe Ce et mer 
yee A Ae ere Se eee ee Ys 
ee Cs Or es eee Se 


Sie aoe 18. sa | cee ws, 


Six-Sided Flask with Two Latin Holy Crosses 
Six-Sided Flask of Blackish Glass with Concave Decorations. . 
I]—Christian Moulded SymbolsonGlass. ......... 
Six-sided Flask of Deep Brown Blackish Glass... . . .. . 
Six-sided Flask of Dark Glass with Christian Symbols 

Jewish Symbols on 4th Century Glass 
Symbols on Jewish Glass 
Symbols on Jewish Glass 
Buds and Staffs of Moses and Aaron 
Symbols on Jewish Glass Flask 
Figures on Jewish 4th Century Glass 
Jewish Symbols, Black Glass Series 
Jar of Black Glass with Jewish Symbols 
Cherubim, on Jewish Glass 
Cherubim Angels from Coptic Stele 
Christ and Cherubim Figures in Coptic Art 
Late 4th Century A.D. Flask of Blackish Glass 
Six-Sided Flask of Blackish Glass with Concave Decorations. . 
Mystic Vases of Thick Heavy Glass 
Mystic Vases, Graffiti or Painted 
Eucharistic Miniature Amulet Vases 
Amuletic Representations of Chalice and Hosts 
Biblical Vessels as Miniature Amulets, Unitsin Necklaces. . . 
Amuletic Miniature Objects, Represented or inthe Round. . . 
sacted Vesselsas Miniature Amuletso7) 70). 0. os Aa 
Blood, Keys and Nail Amulets 


Jee ee eh ewe ie” Fibl ls wer | fe 
Cr ae ee ae ke ees oy el ee ae ee | 
eo & tee oe Bre) 6 ave: Bia) e beers 2a iss op 
Cee le Wce. eles Pielrel aes, oleh say 6. 
Sie ee ee Be eee Oe eee le ow ye 
i Vdiiae Ss oD ar ire Tae le whe 
Pees OC Ca el meee ee vie fs 
ee an i a) 6 ee et ele Mie) LS, 
te ie va ee ee ee eS Chee ce. ei) 
a SUMO te ee ee ae wal. Ag 
a Siem | Se ne” eee ee 


omer tet ae | fe me wl Sel Re fey eR Te 
eee sl ae ee eT 8 i st Se) 6 ee 
bree ey ee) ee ee ee gee eG 


hed At ell fed ek eee oe ae eee OR eS ea 


Xxl 


509 
509 
510 
510 
510 


Sil 


FicurE 228 ChristianAmuletsintheRound. ............. 522 
Figure 229 . I—Christian Amulets inthe Round}. 2 2 i eee 522 
Prare 129 Amulets of Glass in the Round’... 2°." > See $23 
PLaTE 130 The “Ichthys” or Sacred Fish Symbol of Christ with Attached 

Seal of Christ, °F Pave Peo §25 
Pirate 131 Christian Amulets of Uncolored Glass, for Necklaces... . . 27 
PLate 132 Syrian Pocket Amulets of Red Clay }')/ . 2) Soe e eee 529 
Ficure 229. I]—Christian Amuletsin the Round)... 2 > 2 ee 531 
Figure 230 GlassAmulet Disks withSymbols. ............ 533 
Freure 231 Christian Amulet Disks of Glass", 535 
Fieurs 292 Clay Amulets from Syma >. 0 POE EE eet 538 
PiaTE 133 Four Christian Pottery Lamps, Constantinean Period . . . . 539 
Prate 134. lhe Lazarus Vase. 0s 4 vac se oe se ole 541 
Ficurkt 233 Bronze Medal Amulet. oc. ca ee 543 
Ficure 234. I-IV—Christian Symbols on 4th Century A.D. Pottery Lamps 

from Syria’. cc) cp cc exe on ne yh te ae ee 
Ficure 234. V-VII—Christian Symbols, continued. .......2... 545 
Ficure 234 VIII—Development of the Scene on the Moore Beaker . . . . 547 
Ficure 2344, Six-sided Flask of Translucent Uncolored Moulded Glass. . . 549 
Prate 135 TheLouvre Plate 4.0.0... 2s. « +45, + us ip a 551 
Pirate 136 Two Engraved Glass Cups... ..4) 5.2) = aint) 553 
PLaTE 137 Two Gold-Glass Bottoms with Grafito Figures ....... 555 
PLaTE. 138 Gold-Glass Graffito Bottoms . ..0240%. «+ «s.ee ee 557 
Pate 139 Glass Bottoms with Gold-GlassGrafiti. .......... 559 
Puate 140 TheSt. Severin Engraved Glass Plate...» .\.4, ive 561 
Pirate 141 Amuletic Reliquary Flasks... .%..c0.. Se oe 563 
Pirate 142 /Spear-head Vials of Glass...) < is) Ge ae 565 
PLATE 143 Ritual Vials of Columnar and Saddle-Bag Types. ...... $77 
Pate 144 Jugsof Uncolored Glass) )/. 2). oi oo) GL 579 
Figure 235 Christian Miniature Reliquaries...%. 2.5 4 583 
Ficure 236 Spear-head Vials, Ritual Flasks | 2. 4 2. 2 ee eee 584 
Figure 237 Ritual Flasks for Unguents’.. 2). io (a 586 
Ficure 238 Grape-bunch Flasks, 3d and 4thCenturyA.D. ....... 586 
Ficure 239 Double and Quadruple Unguent Flasks... ........ 588 
PLaTE 145 Flasks with Moulded and Stamped Depressed Patterns. . . . §89 
Pirate 146 Flasks with “Patens and Hosts” Decorations ........ S91 
Pirate 147 Heavy, Thick-Walled Flasks 3:27". Qa) ee 593 
Pirate 148 \- Jars of Thick Pad-Glass’’, ;ai" Sh pe 595 
Ficure 240 Animals Carrying Saddle-Bag Vessels . . .*. . .. 2... 597 
Ficure 241 Flasks and Jars with Christian Moulded Symbols on the Base . 599 
Ficure 242 Lotus-pod Decorationson Bottles. ............ 600 


XXl1 


FIGURE 243 


FIGURE 244 
FIGURE 245 
FIGURE 246 
FIGURE 247 
FIGURE 248 
FIGURE 249 
PLATE 149 
PEATE <150 
FIGURE 250 
FIGURE 251 
FIGURE 252 


FicuRE 253 
FIGURE 254 
FIGURE 255 
FicuRE 256 
FIGURE 257 
FIGURE 258 
FIGURE 259 
FicuRE 260 
PLaTE 151 
PLATE 152 
PLATE 153 
PLATE +154 
PLATE 155 
PLaTE 156 
PLATE 157 
PLaTE 158 
Ficure 260 
FicuReE 261 
FicuRE 262 
Ficure 263 
FicurE 264 
FIGuRE 265 
FicureE 266 
FicurE 267 
Ficure 268 
PLATE 159 
PLATE 160 
FicuRE 269 


Page 
Glass Vessels Decorated with Motifs of Joseph of Arimathea 


DEAKGIS\) eh es a ON Ne A MDOT ay LA). oe we A 600 
Pitchers, Flask with Sunk and Raised Decorations. . . .. . 601 
Piaske with Christian Symbols. A. s/Piyanet ad? cial. 2 602 
Flasks Decorated with Sunk Patens and Raised Hosts 603 
Types with Shields and Bosses, Patensand Hosts ...... 603 
epearieeaten Decorations. s,2., . aineige suidhal adel. 5 604 
MIMERPAASHPOMT SYTIA LS. in os 4, hivktelehda GG om 604 
Bee eDroductions sea dt) oy dilge kics ewceeh.. Ge 4 605 
Becevitn Applied Disks and Spinesws)..) sinc) engat . = cs 607 
Peet syianes, Moulded Decorations). ij weaee Gok. te, ee 609 
eres Woulded Jae ail it's tak geil samt ee See 3s 609 
Minute, 4th to 5th Century A.D. Prismatic and Rounded 

(ST Bl ee ae eee re es aoe yo 610 
Sassanian Types with Superposed Disks, 4th Century A.D. . . 612 
Bemesba hacks ac jarsis 2) 4 were ates Pe. CA oe 613 
Baicuus aissathtosth Century A.D gute kes . eh 2 613 
Vases with Pinched Band Decorations ........... 613 
Ampulla Jars with Moulded Depressions... ....... 614 
Moulded Jars with Sunk Shoulder, and Sunk, Upright Niches . 614 
Vases with Pinched Catches, about 4th Century A.D. OTe 
I—Thick-walled Vases with Applied KnobSpines. . .. . . 616 
Jars with Cylinder Neck and Thick, Heavy Walls... . . . 617 
Jars with Wide Neck and Often Depressed Shoulder . . . . . 619 
Parenithe SprinklenPy pede.) 1a76 calle fi, A8R G 621 
Bonukler Types of Thick Glass: (05) 0. ee ls 623 
icsses with Thick Walls...) : paige ae. hee 625 
Pia eonth Dragged Pattetnisud+.8 ier (6 Soiree 2. at 627 
cenin-Vatled Glass Pitcherswti fen) ky ee. See: 629 
Glass Beakers from Merovingian and Frankish Tombs . . . . 631 
II—Vases with Bulging Body and Exaggerated Shoulder . 634 
Base with Star of Bethlehend Aa Ale eee. See 3 634. 
Mater Jars, 4th CenturyA.Dih ait dee esa. SS 634 
Vases with Dragged Pattern of 4thCenturyA.D. ...... 635 
Glass Bracelets iauevet acess. eaten oN eRe. que 4 636 
Oriental Ampulla Flasks, Sassanian Types ......... 637 
Beakers with Upright’ Serpentaieunel) ak eel ei. Gy 637 
Flasks with Body Spoutit.i.cy. rey eee a aa. (Aa 638 
Vases with Applied Snouts and Elephant Trunks... ... . 638 
Merovingian Glass Reakero:s .0hi\ eae putea}. | aa 643 
Merovingian Glasses). euler? 4g eae. Shee 645 
sixth Century A.D, Glassese Gisuit Gated tae bee Se 648 


XXIl1 


FIGURE 
PLATE 
PLATE 
PLATE 
PLATE 
PLATE 
PLATE 
PLATE 
PLATE 
FIGURE 
FIGURE 
FIGURE 
FIGURE 
FIGURE 
FIGURE 
PLATE 
PLATE 
PLATE 
PLATE 
FIGURE 
FIGURE 
FIGURE 
FIGURE 
FIGURE 
FIGURE 


PLATE 
PLATE 
PLATE 


PLATE 
PLATE 
PLATE 
PLATE 
PLATE 
PLATE 
PLATE 
PLATE 
FIGURE 
FIGURE 
PLATE 
PLATE 


270 
161 
162 
163 
164 
165 
166 
167 
168 
271 
aro 
273 
274 
275 
276 
169 
170 
171 
172 
277 
278 
279 
280 
281 
282 


173 
174 
175 


176 
77 
178 
179 
180 
181 
182 
183 
283 
284 
184 
185 


Two Cups from\Gastel'Trosino 2). (eee ee 649 
Glasses ‘from Frankish Tombs... 2... 2 2 Se 655 
sth to 7th Century A.D. Glass Vessels from Frankish Tombs. . 657 
‘Fhe Chasroes Plate 0. 4.0, 2 659 
Two “Hedwig” Glass Beakers of Carved Glass... .... . 661 
Glass Dropper Flasks of UncertainDate .......... 663 
Glass Weight. 5.55.) s PRP ee oe 665 
Egyptian Glasses by th PS ee 667 
Egyptian Glasses from Fayoum .°. 9... 1°. 2 1 7. See 669 
Coptic-Islamic Glasses. 2 0 0. 2 a 2 671 
Late Sassanian or early Islamic Glass... 2s) 0 ee 671 
Vessels Represented on Arabic Glass ) ia) 2 9) a 676 
Arabic Droppers, 13th Century A.Do 3) 29.0 1) = 677 
Diagrammatic Cross-sections of Arabic Enameled Vessels. . . 677 
Arabic Glass Beakers of 13th Century A.D. 9) G2 a 678 
Egyptian Glasses from Fayoum. ........ pre 681 
Two Silver Plates from Mosul, Mesopotamia ........ 683 
Arabic Glass Dropper’... 200" a2 685 
Abasside Enameled Beaker...) 0). 2722 F 687 
Arabo-Venetian, Date Uncertain). ) \) | 7 691 
Arabic Lamps of Glass, Enameled Decorations ...... . 691 
Arabic Enameled Glass, 14th CenturyA.D.. ........ 692 
Arabic Enameled Flasks. ).8.° 07) wi 0 692 
Arabic Enameled Jugs. 0°. 6) 0° 8 So 692 
Ancient and Medieval Glass: Representations of the Grail 

Objects 0} ee nS A ae 695 
Three Arabic Beakers) . 0... 4 0) 699 
Enameled Arabic Beaker and The Luck ofEdenhall . ... . 701 
Arabic Funnel-Shaped Beaker with Stem, and Enameled Cylin- 

der Gup wnt ae Su Pah ee a 703 
Stemmed Chalices; Arabia) 20°. 2. er 705 
Lamp of “The Cup Bearer’? 02.) = 9. 39 707 
A Cylinder with Cover, Open Base Bottom, Frosted Glass. . . 709 
The Monserrat Beaker with Enameled Decorations . ... . 711 
Modern Venetian Glasses, some Imitating the Antique . . . . 723 
The Mother and Daughter Vase.) 2-2. 795 
The Mother and Daughter Vase, Side View. . ....... 727 
Hellenistic Marble Bust with Back to Back Faces . . . . . . 729 
Folded Glasses of Uncertain Date, Ancient and Modern . . . 732 
Dynamic Diagram of the Mother and Daughter Vase. . . . . 735 
Pine Scale Goblet, 3d Century A.D...) a 739 
The Faun from the Borghes¢ Vase... 2 3°')). 39) eee 741 


XXIV 


Piate 186 Etruscan Bronze Mirror, once with Glass Inlay. 


OP tp om” 8.> Ke Pe Cue 


Pirate 187 The “Augustus” Silver Cup of the Boscoreale Treasure . . . 


Pirate 188 Arretineand MaaraPotteryCups ...... 


XXV 


.e 


aie 
= 


Kom Y? ; se 


rhs 
om) 
oe 


PART I. GENERAL REFERENCE TO ORIGIN: 
MATRICES; SEPARATE PARTS; DECORATIONS; 
TYPES AND THEIR NOMENCLATURE 


HE legendary origin of glass refers alone to the invention of the glass ma- 
trix as a substance, not to any special form of glass or to any special tech- 
nic by which glass was formed. Various claims have been advanced for 
different countries or peoples as the original discoverers, a condensed sum- 
mary of which follows. 
THE CLAIM FOR PHGNICIA. The theory and tradition that Phcenicia was the 
land to originate glass-making was first advanced by Pliny, the Elder, in his Historia 
Naturalis, 11, 36, 66. He tells the following story: — 

“In that part of Syria which adjoins Judea, there exists near to the promontory of 
Mount Carmel a swampy place called Cendevia. At this point we find the mouth of 
the river Belus (now known as Hadr Alu), which is situated about 5,000 steps from 
the colony called Ptolemais. Its holy water, made further sacred by divine cere- 
monies, courses deep and muddy towards the sea. But at the time of low water 
there is laid bare a narrow strip of sand beach, not more than five hundred steps in 
length. At this place it is said that a vessel loaded with saltpeter (or soda) stranded, 
and for lack of rocks the crew, who had landed safely, used chunks of saltpeter to 
support their kettles while preparing their meal. After the fire had gone down they 
discovered underneath the fireplace a noble, shining, semifluid substance which was 
the origin of glass.” 

That the best quality of sand for glass-making was found near the mouth of the 
river Belus was well known in antiquity. It was enlarged upon by Strabo, who, 
placing the locality between Ptolemais and Tyre, added that the sand was taken 
from this locality to Sidon for further manipulation into glass. Even Josephus 
Flavius, who, as we shall see, advances another claim in favor of the Jews, relates 
that on the river Belus, near the tomb of Memnon, is found a mine pit, a hundred 
yards in diameter, which contains sand suitable for glass. When exhausted, the sand 
renews itself by being blown in by wind. Tacitus repeats the legend and adds that 
glass is made from sand and nitre (nitrum). The classical legend was repeated in 
the 7th century in the works of Isidor, Bishop of Seville in Spain, and in the collec- 
tion of recipes and anecdotes published under the name of the monk Heraclius, 
On the Colors and Arts of the Romans. 

It has been the favorite fashion to condemn, a priori, the Phcenician claim, prin- 
cipally on the theory that the heat derived from a cooking fire would not suffice to 
smelt or fuse sand and alkalies. There is, however, something not incredible in this 


I 


claim, and until actual experiments have been made, it should not be condemned 
offhand. 

A more serious defect to this Phoenician theory is that no reference is made to the 
possible date when this discovery took place. As glass was already in use in Egypt, 
though to a limited extent, in the XIth to XVIIIth dynasties, the discovery of the 
Pheenicians in order to have priority should have been made about the time they 
first settled in Syria, about 2000B.C. But as far as we now know, until the present day 
no such early glass has been discovered in Phcenicia, certainly none which can be 
much older than the gth century B.C. It should be remembered, though, that even 
this date is not quite settled and we may eventually have to accept, if proven, the 
theory advanced by Flinders Petrie in a lecture, before the Sheffield Society of Glass 
Technology, (according to Nature, July 31, 1926, p. 178), that certain glass objects 
recently found in the Euphrates region of Syria are associated with objects of the 
astonishingly remote date of 2500 B.C. 

In another paper on Antique Glass the author has suggested that glass was dis- 
covered as a result of hardening of glaze, and that this was known to the Egyp- 
tians since predynastic times, but that glass might also have been, and probably was, 
independently discovered in different places and at various times, where the im- 
perfection of the technic prevented its general use for practical purposes. 

THE CLAIM FOR EGYPT. The claim of Egypt as the site of the discovery of 
glass has until recently been based upon the wall paintings of certain 12th cen- 
tury tombs of Beni Hassan, in which representations of workmen with blow pipes 
before fire have been identified as scenes of glass-blowing. But as blown glass can 
not have been made before the Ist century B.C., it is now generally admitted that 
the scenes in question represent some other craft, not yet satisfactorily determined. 

It has, however, long been known that minute glass amulets were made in Egypt 

during the XVIIIth dynasty, a date extended by Winlock, who has described beau- 
tifully made, minute glass beads from the tombs of the XIth dynasty (Metropolitan 
Museum Bulletin, Part 2, p.63, Nov. 19, 1921), 2000. B.C. 
THE CHINESE CLAIM OF GLASS INVENTION. There have not been want- 
ing theories that glass was first used by the Chinese, but until now no finds of ancient 
glass have been discovered in Chinese tombs, which on the whole have been little 
excavated by archaeologists. There are, however, certain written references in Chi- 
nese literature that “‘ten distinct colors of glass matrix were imported from the 
Roman Empire in the period 221-266 A.D.” 


THE GLASS MATRIX 


THE GLASS GROUP. The various substances which make up the connected group 
which can be termed the Glass Group, consist of glaze, glass and enamel, each of 
which possesses distinct qualities and characteristics. These terms should therefore 
not be applied promiscuously. The substances are also chronologically distinct as 
regards their origin and on that account possess an historical importance in the 
history of arts and crafts. 


THE GLAZE. The glaze is a more or less fluid or viscous liquid which contains 
substances which when hardened resemble glass or constitute glass. The art of 
glaze was known to and used by the ancient prehistoric Egyptians, that is, previous 
to the Ist dynasty, for they possessed the art of glazing pottery and stone. The 
glaze was either uncolored or colored. At first the color was greenish and yellowish 
and it was only after a thousand or more years of application that intensely-colored 
glaze in red, blue, green and yellow came to be invented. 


NATURAL GLASS. Natural glass is a substance found in rocks of certain geo- 
logical formations. The most common variety, known as “obsidian,” is black and 
faintly transparent or translucent, reflecting in strong light a brownish tint. It 
occurs in all volcanic regions, generally in spherical or rounded nodules of varying 
size. The barbaric natives used obsidian for arrow and spear points, but the Egyp- 
tians either fused this glass or in some instances shaped it in its natural state into 
beads. The high temperature of fusion made this glass unsuited for general use. It 


seems probable that this type of glass gave origin to, or suggested, the making of 
artificial glass. 


ARTIFICIAL GLASS. Artificial glass is, as we have said, a mechanical composi- 
tion of finely ground or even pulverized substances, fused at great heat without the 
admixture of liquids except in exceptional instances in order to convey to the mix- 
ture certain salts alone soluble in liquids. 

This substance glass was known to the Greeks as “hyalos,’”’ meaning translucent. 
The Latins called it “vitrum,” from videre, meaning to see through. ~ 

The constituents of early ordinary glass were sand, soda or potash, called nitre 
or nitrum, and certain metallic salts such as sesquioxide of lead or bioxide of man- 
ganese, etc. Saltpeter, too, is found in early glass and, as the art developed, innumer- 
able other substances were added in order to vary the hardness, fusibility and the 
color of the glass. : 
GLASS OVENS. The only safe manner in which to ascertain the place of manu- 
facture of antique glass is to discover the actual oven or the refuse of glass thrown 
out of actual manufacturing places. Investigations of such places have, however, 
never been made with sufficient accuracy, and with full knowledge of the subject 
and its importance. The finds have always been accidental. The oldest are those of 
Tel el Amarna in Egypt, where three or four different factories were found and 
described by Flinders Petrie. Others have been found at Tyre in Syria, and the 
writer has been told that years ago one was found outside of Porta del Popolo in 
Rome. In France ancient factories of glass have been excavated at Lyons, in Marne, 
in Vendée, and in Poitou; in Belgium at Namur; in Germany at Worms, with speci- 
mens in the Museum of Wiesbaden; in the Eifel mountains; at Tréves and at Co- 
logne. In England, factory remains have been found at Wilderspool. The latter are 
most important because they date from the time of Trajan. There, together with 
fragments of glass, were found ingredients of copper, lead, chalk, lime and other 
substances entering into the manufacture of glass. 


PRINCIPAL TYPES OF ARTIFICIAL GLASS 


OPAQUE GLASS. This type was produced before the translucent glass, and the 
translucent was made before the transparent glass. The earliest Egyptian amulets 
of glass date from the XIIth to the XVIIIth dynasty and were always made of 
opaque glass. This was either uncolored and dull or highly colored. The dull, un- 
colored bead marked with the cartouche of Queen Hatshepset is of this kind, though 
some believe it made of natural glass, or obsidian. The colored opaque glasses 
of the XJIth to XVIIIth dynasties are very attractive, principally because the 
colors are soft and harmonious, never glaring. The soft coloration was often due to 
impurities, such as lime, manganese and magnesia. Traces of lead and zinc gave 
opaqueness, but metallic compounds produced colors. The chemical analysis of 
ancient Egyptian glass reveals the same substances as used in glass-making now, 
but as specimens of the glass analyzed chemically were never preserved, we are ata 
loss to understand what varieties were analyzed. As a rule it can be said that copper 
and cobalt produce blue; iron, yellow; lead and zinc, opaque white, or in proper 
combinations, so-called lead glass, uncolored transparent glass. In the XVIIIth 
and XIXth dynasties, roughly from 1500 to 1000 B.C., the art of imitating many 
kinds of semi-precious stones had advanced, and many beads sold in Egypt as 
precious are made of colored glass. 
UNCOLORED TRANSPARENT GLASS. The uncolored transparent glass, re- 
sembling uncolored quartz, was invented in the gth to 8th century B.C., a time 
when we first find it in small quantities in Italian tombs, mostly in the form of beads. 
These beads of various sizes, generally as large as hazelnuts, are of a fine, brilliant 
transparency and without a trace of color. 

Glass vessels made of pure uncolored glass do not appear until the Ist century 
A.D., and in quantity not until the 2d. 
eg RANSLUCEN: T AND TRANSPARENT GLASS. Let it be said again that a 
distinction should be made between translucent and transparent glass. Translucent 
was known at least since the XIth dynasty, but transparent uncolored glass was 
invented about 800 B.C. and appears in Italian tombs of the gth to 8th century B.C. 
Translucent glass transmits light, but transparent glass transmits also the forms of 
objects. 

IVORY PASTE GLASS, This name has been given to a certain opaque, non- 
reflecting glass used by the Sidonians of the 1st century B.C. in the making of vari- 
ous small objects, such as the ‘ ‘temple flasks,” heads of deities, in band glass, etc. 
It occurs as opaque white, as clay blue, as emerald green and even as red. The art 
of making this glass was lost in the 1st century A.D. No later glass equals this in 

beauty. 

DETERIORATION. Glass when exposed to the air, and especially to moist 
earth, decays from the surface down. The upper part of the glass separates into | 
layers, and the inner parts granulate or pulverize. Even when exposed to dry air — 
the surface becomes in time spotted, and later pitted. This deterioration is impor- — 


4 


tant in the study and classification of glass, because it often informs us of the origin 
of the glass, the country where it was made, the country where and conditions under 
which it was buried, and finally the composition of the glass. The color of the decay 
should be noted. Much of the dead lead-coloration is confined to the 4th century 
A.D. The form of the pits and the sores should be noted. The Egyptian glass de- 
cayed less readily than the Syrian glass, and the German glass never assumed the 
fine iridescence so highly prized in Syrian glass. 

THE IRIDESCENCE. The iridescence is due to the separation in thin layers of 
the surface of the glass, the colors and brilliancy of the glass being due to the re- 
fraction of the light from layer to layer, as in ordinary prisms. Certain kinds of 
glass do not assume an iridescence and thereby supply important points for study 
and classification. The iridescence of glass can be temporarily destroyed by appli- 
cation of water, but is resumed when the water evaporates. 

THE SURFACE PATINA. While the iridescence reflects light and displays dif- 
ferent colors, the patina is dull and resembles a coating on the glass. It is rarely 
iridescent, but mostly dull, solid looking, and hard. It has the appearance of a 
paint or a powder, and its appearance often suggests the date of the glass. It is due 


to oxidation, and this lack of transparency makes it most unpleasant to behold. | 


Still, it should never be removed mechanically, but might be modified by an appli- 
cation of mineral oil. It is often strongly attached to the lower or under matrix and 
differs in this from the iridescent layers which fall off by themselves, even when 
handled with great care. 
ODOR OF GLASS. Ancient glass always possesses a strong odor of earth and mor- 
tar, which becomes especially noticeable when the glass is moistened. Immerse an 
antique glass in water and it at once smells earthy. This property is never possessed 
by modern glass imitating the antique glass, and it thereby enables us to detect the 
antique from the imitation when other tests fail. 


MAIN TECHNICAL TYPES OF ARTIFICIAL GLASS 


THREAD OR CORE-WOUND GLASS. This glass was extensively in use from 
the XVIIIth dynasty to the time of the early Roman emperors, but went out of 
fashion after the discovery of tube-glass. It consisted of winding semi-fused threads 
or rods of glass around a core made of sand held in position by some adhesive soluble 
in water. When the vase or bead was shaped the surface was fused and smoothed 
down and the sand core scraped out. The method was in use as late as the 3d cen- 
tury A.D. in imitating old Egyptian alabastrons. 

PAD-GLASS. This type consisted in spreading fusing glass on a marble platter and 
rolling it into sheets. In making vessels of this glass the base, foot, neck and lip rim 
were made separately and fused together. Hence the walls are extremely thick and 
heavy. After cooling the surface was ground down. Such pads were also pressed in 
moulds. Drinking cups of semispherical form without handles were made in this 
manner during the time of the later Ptolemies, and perhaps even earlier. 


5 


— 


TUBE-BLOWN GLASS. This glass followed the pad-glass. It was made of a pad 
of glass folded upon itself in the form of a tube. The lower end of the tube was 
closed, and by means of a metal tube inserted in the open end the lower part of the 
tube was enlarged. All the early flasks previous to the Ist century B.C. were made 
in this manner when not made with core-wound threads. This technic never died 
out, but was discontinued after the invention of bubble-blown glass. 


STRATIFIED RODS. This type is merely pad-glass made up of different rods 
of glass of different colors. The rods were placed side by side, fused into a pad, 
rolled into a tube or simply twisted into a cylindrical flask with closed and pointed 
base. The tube was blown out in the manner already described. After fusing and 
forming the vase, the surface was ground down to shape. This type probably pre- 
ceded the glass made of stratified layers, to be described next. But it never died out 
entirely, its simplicity causing it to survive the more elegant stratified-layer glass. 
STRATIFIED-LAYER GLASS. For short this type might be termed stratified 
glass. It differs from the stratified-rod glass in that the stripes are derived from 
strips of layers instead of rods. The process consisted in placing layers of pad-glass 
on top of each other and cutting them up into strips after fusing to adherence. 
From a layered strip a tube was formed and the vessel prepared in the manner 
already described. Many types exist, to be described later. This type went out of 
fashion with the time of Augustus, but from it the finest antique glass was made in 
the 1st century B.C., never afterwards equaled by any method. 

MOULDED PAD-GLASS. The easiest way to form a pad-glass was to press it in 
a mould consisting of one or more parts. Specimens of moulded pad-glass are quite 
common and the art of making it, once it had been invented, continued to be prac- 
ticed until modern times. Moulded pad-glass is always characterized by its thick 
walls and heavy weight. It was first used for ordinary truncate-ovoid drinking cups, 
which, on account of their thick walls, were not readily subject to breakage. Other 
specimens had the form of bowl flasks which were made of two separate parts, each 
moulded separately and united by fusion. The decorations, when any, were either 
moulded or stamped on the surface as in Arretine ware. 

BUBBLE-BLOWN GLASS. In this type the glass vessel is no longer blown from 
a tube but from a bubble by means of a blow pipe. The type is a direct development 
from the tube-blown glass technic, the difference being that whereas in the latter 
the glass matrix was first made into a tube, in our present process the bubble is 
produced directly from a formless particle of fused glass matrix, enlarged in the 
same manner as a soap bubble. The art was entirely unknown to the ancient Egyp- 
tians, no bubble-blown glass having been found in tombs earlier than the Ist century 
B.C. The technic was probably invented by the Sidonians, who produced wonderful 
but small bubble-blown vessels in the time of Augustus. There are, however, certain 
_ indications that the art was already known in its rudiments in the 5th century B.C. 
to an artistic glass-maker. The reason for this belief is that in the museum of Bo- 
_ logna, Italy, there is in the 5th century B.C. series a type of bead which seems to 
' have been made directly from fused glass by means of a blow pipe. These beads 


6 


appear to be hollow and with a flattened or compressed turbinate body, with pro- 
jecting cogs along the equatorial. The beads are about 3 centimeters wide and 
1.5 high. Some of them possess a little narrow neck and wide lip rim at one end of 
the bore, and thus imitate the form of a wide and flat flask like the Greek “‘lekane” 
of this period. 

The examples copied by the author were in case E, No. 459, from “Predio Arno- 
aldi,” near Bologna. The writer had no opportunity to handle the beads at his 
leisure, and further investigation might lead to a different theory. 

From that period on to the Ist century B.C. no similar objects are known nor are 
there any glass vessels which even remotely suggest that they were made directly 
from a bubble of fused glass. 


BLOWN-IN-A-MOULD GLASS. The invention of blowing a bubble in a mould 
in order to produce a certain correct form, or for the purpose of reproducing on its 
surface certain decorations in relief, was perfected almost at the same time as the 
discovery of blowing glass from a bubble. The invention was undoubtedly made 
by Sidonian and Tyrian artists, many hundreds of specimens of their work now 
existing in our museums and collections. The vessels were mostly small, but of 
exquisite form with delicate decorations made of artistically superior varieties of 
glass matrix, never equaled, much less improved on, in later times. In fact, their 
art, which reached its perfection in the time of Augustus, soon so deteriorated 
that within a century it had lost both its beauty and its perfection. As the quality 
deteriorated the vessels gained in size, always an indication of the ruin of all true art. 


MOSAIC GLASS. Mosaic glass is a special glass technic containing many types. 
Mosaic glass consists of various units of differently colored or uncolored glass, so 
arranged as to form different patterns. According to the nature of the pattern, differ- 
ent technics were used, so that we can now separate a whole series of varieties, such 
as surface mosaics, matrix mosaics, and imbedded mosaics, further divisible as 
breccia mosaics, columnar mosaics, gutta or drop mosaics, rod-glass mosaics and 
stratified-layer mosaics. 

Some of the mosaic types were already in use in the XVII Ithand XXth Egyptian 
dynasties, but it was only after the invention of the columnar mosaic rod had been 
perfected that mosaic glass attained such popularity as to supersede almost every 
other type of glass. The finest period of this glass is in the time of Augustus, before 
bubble-blown glass had yet come into general use. Mosaic glass technic was un- 
suitable for very large vessels and difficult to apply to the making of flasks. Hence 
it was pushed aside when the taste developed for very large objects, a taste which 
went hand in hand with Roman imperialism, for there everything had to be large in 
order to satisfy the public craving for size rather than quality. The final step in this 
art was its use in wall decorations. After that the art degenerated but was never lost. 

Mosaic glass is in reality a type of pad-glass in which the matrix is made up of 
well defined units of different colors, assembled when cold and solid, and afterwards 
fused to adherence. The mosaic glass technic included the use of a base matrix upon 
which the mosaic units were assembled before fusing. After fusing, this base matrix 


7 


was removed by grinding and scraping, which was continued until the mosaic body 
possessed the required thinness and outline. 

As has been said, mosaic glass comprises many varieties divisible into various 
classes. These must be properly differentiated when a specimen of this type is de- 
scribed, for only through such minute description and definition can the nature of 
this type of antique glass be distinguished from later imitations. Such classification 
is not alone of scientific and artistic interest, but many times of great economic im- 
portance, involving a question of thousands of dollars, the price sometimes paid by 
the ignorant for unimportant imitations. 

PARALLEL-ROD GLASS MOSAIC. Series of parallel rods were laid side by 
side on a support and fused into a pad or sheet. When too thick the pad was ground 
down and the surface made even, but in some instances these vessels show the con- 
vex outlines of the rods on their surfaces. Instead of plain rods, rods of different 
colors were used in regular recurrence and were sometimes enhanced also by gutta 
drops and short surface streaks of different colors. Rods with trina spirals in the 
interior were often employed, both as the main matrix and as edgings. Vessels made 
of this type of glass were in use in the time of Augustus. They are of indifferent 
artistic merit unless they have been mixed with plain rods and bands. The art of 
making entire vessels of parallel rods was brought to a perfected state by the Vene- 
tians and this constitutes the only really artistic technic in which they excelled. 
CAMEO GLASS. This type of glass was suggested by the semiprecious natural 
onyx stone, with alternating layers of translucent and opaque matrix. It was made 
by covering a transparent glass matrix with an opaque, generally white, matrix, 
the white layer being on top of the transparent one, so that figures and designs 
carved of the latter would show on a distinct background. Innumerable fragments 
of cameo glass are in our museums, the best being from the time of Augustus and 
Tiberius, after which time the art of carving degenerated, first in design, later also - 
in technic. The four entire, or restorable, cameo vases best known are the Portland, 
the Naples, the Moore and the Curtis (now in the Toledo Museum), the latter two 
being in the United States. This art was lately imitated in pottery, which would 
have been admirable but for the disagreeable tint of the blue background and the 
too glaring whiteness of the reliefs. 
COLUMNAR-ROD GLASS. The rods in this type were fused in upright positions 
and in parallel arrangement. Never in use except in columnar mosaic glass, in- 
vented in the Ist century B.C. 

STRATIFIED GOLD-GLASS. A layered gold-glass consisting of two layers of 
transparent glass matrix, with between them a layer of gold film, or in rare instances 
gold enamel. Of this material and in this technic were executed gold-glass beads in 
the time of the Ptolemies and continued to the Renaissance. Another type consisted 
of gilt reliefs of glass, covered in a similar manner with transparent glass. A third 
type consisted in covering a plain glass surface with gold leaf and, after causing it 
to adhere by some gum or mastix, scratching in it designs with figures of plants, 
animals and personages, according to the style of the time. The gold-glass reliefs 


8 


are known in but one entire and few fragments, datable to the 1st century B.C. 
The gold-glass graffiti became common enough in the time of Constantine, some 
four hundred specimens being known. The gold-glass beads, begun in the time of the 
Ptolemies and continued in use ever since, were made with constantly increasing 
loss of skill and taste. Instead of gold, silver was also, but rarely, used. In the de- 
generate beads of the Roman empire, white and yellow paint enamel was sometimes 
substituted. 

In order to prevent the two layers of glass from separating, caps of glass were 
fused to the ends of the beads, but in the case of graffiti and gilt reliefs in which the 
gold did not reach the ends of the layers, such precautions were not necessary. 

The Venetians “improved” upon the process but substituted modern, compli- 
cated, shaded designs for the simpler ancient graffiti without shading, a style through 
which their imitations are now readily recognized. 


FEWISH GLASS. Efforts have been made by various writers to prove that the 
Jews manufactured glass from time immemorial, and that glass was already in use 
in the reign of King Solomon. These assertions are partly based upon statements in 
the Bible and in the Talmud, all of which have been hunted out and quoted by 
Hamberger and Michaelis in the publications of the Géttingen Society, IV, pp. 
27, 58. It is now known that these quotations are due to incorrect translations of 
certain words which are rendered as g/ass instead of crystal or some similar natural 
substance. Nor has any glass of very ancient date been found which can with 
certainty be attributed to Jewish workmanship. The account given by Josephus of 
the Jewish discovery of glass is not credible, because in a forest fire the resulting 
heat is not sufficient to fuse ashes and sand into glass. Nor do trees grow in alkali 
of sufficient purity to produce glass. 

It is, however, possible that the Sidonian and Tyrian manufacture of glass grad- 
ually fell into the hands of the Jews, but there is no evidence of this in the early 
vessels, for only in the 4th century was glass made with characteristic Jewish 
symbols. The period of Jewish glass might thus have begun in the 4th century. 
It is also apparent that the Jews themselves had little or no knowledge of the 
history of glass, as evidenced by statements in the Talmud, which are to the effect 
that the art of making uncolored glass had been lost since the destruction of the 
Temple of Solomon. The oldest uncolored pure glass known dates from tombs in 
Italy of the 9th and 8th centuries B.C. The writing just mentioned could therefore 
only have been made at a time when uncolored pure glass no longer existed. As it 
did continually exist from the gth century B.C. to the 5th A.D. it follows that the 
statement in the Talmud was made at the latter date. 

In the 4th century, however, flasks of very dark glass with Jewish designs and 
symbols were made. In the 6th century Jewish makers of glass had settled in 
Constantinople and there is an often repeated tale to the effect that a one-time 
Jewish glass-maker tried to throw his son in the glass oven because the latter had 
become a Christian convert, and that the boy was saved by the direct intercession 
of the Holy Virgin. 


In the 7th century Greek workers in glass emigrated from Constantinople to 
Gaul in order to work in glass “‘according to the Jewish method,” which shows that 
Jewish glass had acquired some fame. A book including recipes of the gth to 
12th centuries, attributed to Heraclius (1oth century A.D.), On the Colors and 
Arts of the Romans, II, 49, describes the manufacture of Jewish glass by means 
of lead salts, resulting in lead glass (vitrum plumbeum), which Kisa in his work on 
glass assumes to be uncolored glass, although this is not proven by fact, as uncolored 
glass seems to have been practically unknown at that time. Theophilus, a German 
monk (i11th-12th century A.D.), who gives recipes for such glass, but not suffi- 
ciently detailed to be intelligible, did not really know ancient glass. 

That already in his time Hebron was the main place of glass-making is believed 
by Kisa (pp. 6-16, 200, 280, 842, etc.). Hebron is also at the present time the 
seat of a Jewish glass industry, its principal manufacture being glassware, beads 
and arm rings, as well as amulets, which are sold to the Arabs and the Bedouins. 


QUALITY OF THE FEWISH GLASS. Kisa in his book (p. 99) accepts the 
theory that the glass industry fell in the hands of the Jews during the Middle Ages 
and that the assumed superiority of their glass consisted in its transparency and 
lack of color, in other words, in its purity. But Kisa, or any one else, has failed to 
point to any specimens of such Jewish glass either by description or representation, 
which makes it impossible to affirm the truth of this theory. The few existing pieces 
of glass with Jewish symbols, known to belong to the 4th and sth centuries A.D., 
introduce us for the first time in the history of glass to a degraded, almost black, 
glass, nearly opaque, never transparent and but faintly translucent. Nor are there 
any glass vessels known from the early medieval period which on account of their 
form point to a specially Jewish origin. Even Jewish archeologists have failed to 
point to any extant Jewish glass. Until such glass is found we must believe that 
the term Jewish can only apply to a limited number of makes of coarse form and 
coarse quality, and that the name Jewish was given to glass because it was sold by 
and distributed by the Jews. A great deal of this and other medieval glass can, 
however, be referred to as Christian glass, partly because it contains Christian sym- 
bols, partly on account of its form. Christian chalices, for instance, were known 
already since the 2d century A.D. Fine glass was not produced during the medie- 
val age until the advent of Byzantine glass-makers, but especially not before the 
coming of the Arabs. 
IMITATIONS. Imitations in glass of precious stones were as common in classic 
antique times as to-day. Seneca warned against imitations of emeralds, and Pliny 
has treatises on the manufacture of precious stones. Azure blue was made with 
oxide of copper, silicates, alkali, cobalt, lime and oxides. Turkish blue was made 
with oxide of copper; red, with copper oxides and copper filings; violet, with man- 
ganese oxide; green, with oxide of lead; emerald green, with copper oxides and gold 
and saffron yellow with chloride of silver; black, with manganese and iron. Opaque 
white was made with tin. 

The most famous imitation now known and extant is the Sacro Catino bowl in 


ge) 


San Lorenzo in Genoa, long considered as a priceless emerald, once so highly valued 
that it was accepted by the Genoese as full payment for the use of their fleet by 
Alfonso VIII of Castile at the siege of Almeria of the Moors in Spain. The ad- 
miral of the fleet, Guillermo Embriago, presented the bowl to the cathedral in 
Genoa, where it is now. It was taken by Napoleon to Paris, but was restored after 
his fall. During the transit it was broken and it was then discovered to be of glass. 
Marvelous imitations like this but of small size were not uncommon among the 
Sidonian glass-makers in the time of Augustus; and some few bottles of this glass 
are known to collectors. 

Most imitations were used for beads, the deception being facilitated by the facet- 
ing and grinding of the stones to resemble natural or artificially produced crystals. 
Such crystal grinding became common in the early Roman empire. It can be easily 
recognized by holding the stone to the lips. If it produces a sensation of warmth 
it is of glass, but if it feels cold it may be a crystal or even a precious stone. 

Not alone precious stones, but other precious materials were imitated. Salonina, 
the wife of Emperor Gallienus, whose colossal bronze statue can be seen in the Met- 
ropolitan Museum, bought a string of beads from a dealer, being assured they were 
genuine and priceless, only to discover afterwards that they were glass imitations. 

Onyx, alabaster, malachite, lapis lazuli and even marble were also imitated. 
These less important imitations flourished at the time of Augustus and Tiberius 
but disappeared or became rare with the wholesale manufacture of pure, uncolored 
glass in the 2d century A.D. Several cups and vases, upon discovery described as 
onyx, are onyx glass. It is a question in the mind of the author whether the famous | 
Valencia cup, said to be of onyx, is not really of onyx glass. The fact that both mate- 
tials were uséd at the same period would in no way decide for or against the supposed 
sacredness of the vessel, and so the authorities of the Valencia Cathedral would 
neither gain nor lose by permitting an expert’s examination. Glass as a material 
for such cups, is, if anything, the earlier substance out of which they were made. 


SEPARATE PARTS OF THE VESSELS 


THE MOUTH. The mouth is the uppermost part of the vessel, and is best defined 
as the area and opening which gives access to the vessel. The edge of the mouth is 
called the lip and lip rim. The latter is sometimes lacking. 

CIRCULAR MOUTH. The primitive form needs no explanation. It is circular 
when viewed from above. The circular mouth can be flat, funnel-shaped or cup- 
shaped. In either case, we must make a distinction between the upper opening and 
the lower opening, the latter sometimes a mere diaphragm.—Fig. 1, a. 

MOUTH WITH PLAIN SPOUT. The opening is more or less almond-shaped, 
drawn out at one end, rarely at two opposite ends.—Fig. 1, 4, c. 

TREFOIL MOUTH. The upper mouth area has the form of a clover leaf or tre- 
foil, when viewed from above. Below the trefoil and in its interior is the neck open- 
ing or throat entrance. The trefoil is always produced by pinching and the leaflets 


II 


are often unequal in size, one forming a spout and the others wings for preventing 
the liquid from flowing over the neck.—Fig. 1, d-/. 


©? ©) Sas 


Fig. 1. Mouth forms of glass vessels—Plain, with spout—trefoil. 


DROP MOUTH. A diminutive opening at the apex of a narrow, tall neck, without 
diaphragm, in dropper flasks. This type is especially common in Sassanian and 
Arabic vessels used at the bath. 

~ The modern form of sprinkler mouth with many circular openings on a convex 
disk has until now never been observed in ancient glass vessels.—Fig. 2. 

CUP AND FUNNEL MOUTH. The mouth and upper part of the neck has the 
form of a cup with outward curved sides, or of a funnel with straight sides. The base 
is some distance down the neck and therefore of a conspicuous size and form. The 
form was derived or inherited from the mouth of the Greek lekythos and aryballos, 
both destined to contain oil. The cup prevented the oil from bubbling out, and 
facilitated the return of the oil to the vessel without waste. Pottery vases with such 
mouths are described by Miss Richter, Shapes of Greek Vases, Metropolitan Museum, 
New York, 1922, pp. 25, 26, 27. 2d and 3d centuries A.D. Often found in glass 
vessels Ist and 2d centuries A.D.—Fig. 2. 


2 Ov? Va 


Fig. 2. Mouth forms.—Drop—cup—funnel and plate mouths. 


PLATE MOUTH. The mouth and lip have the form of a wide, slightly concave 
plate or saucer, as in certain ceremonial water jars, resembling a paten placed on the 
top of the neck.—Fig. 2. 

SIZE OF MOUTH. Either full, wide or narrow. The full mouth is almost as wide 
as the body proper at the shoulder. The mouth is wide if about one-half to one-third 
the diameter of the body at the shoulder. It is narrow when it is but a fraction, 
such as a fourth, fifth or sixth the diameter of the body. It is termed “pinhole” or 
drop mouth when it appears like a small hole, in the center of a wide disk, or at the 
end of the neck, as the long-necked droppers. The mouth is full in some jars and 


12 


pitchers. It is wide in most jars and jar bottles. It is narrow in flasks and bottles, 
and in most all vessels for storing liquids —Fig. 3, a-e. 


i) & 


Fig. 3. Relative size of the mouth.—Full, wide, narrow, pinhole mouth. 


THE MOUTH LIP RIM. The upper part of the neck ends in a mouth, the form 
of which is of considerable importance in dating the vessels. The important matter 
in connection with every type is to know when it first appeared. The time when it 
disappeared can rarely be determined, because most, if not all, types disappeared 
gradually. The following are the most important: 

NECK WITHOUT LIP RIM AND FLARE. This, the simplest form, is often found 
in the Ist century, but continued sporadically. In the 5th century it became once 
more fashionable, the cylindrical neck being simply cut off horizontally —Fig. 4, a. 
NECK ENDS IN A FLARE WITHOUT RIM. The upper end of the neck is 
slightly widened but without rim, a type often found in the 1st century A.D.— 
Fig. 4, d-d. 

RIM TURNED OVER. Edge ends in an overfold of the rim, producing a low, 
plain collar. This plain form was favored in the early years of glass-making or in 
early Sidonian glass in general.—Fig. 4, e, f. 


ma OT RR 


Fig. 4. Lip and rim.—Plain, flare, collar. 


UPRIGHT CONTRACTED RIM. This type of lip rim is found only in Sidonian 
and early 2d century pateree derived from the Hellenistic Megarian bowls which 
all possess this characteristic. The rim is upright but set in, so that the diameter of 
the whole rim is considerably less than that of the patera or bowl proper. The rim 
is always low, either perpendicular or slanting. In the later 2d and 3d centuries 
patera, or bowl plate, the rim is as wide as the shoulder and not greatly set off.— 
Fig. 5, a-d. 

DIAGONAL RIM PROFILE. The outer profile or margins of the lip, viewed on 
a plane or level with the mouth, is sloping and sharply set off from the neck proper. 
A turn-over, or short collar, is generally present at the same time.—Fig. 6, a, 0. 
FLAT OUTSTANDING RIM. The upper surface of the rim is entirely flat, and 
when viewed from the top appears like a circular disk without funnel-shaped ap- 
proach or junction with the neck. This type is characteristic of a series of vessels of 


13 


the 4th century, including the revived forms of toilet amphore with dragged dec- 
orations in imitation of the Egyptian style of the first millennium B.C. The char- 
acter is of such importance as to suggest at once the 4th century date of anv 


WW Ww 


Fig. 5. Upright collar rims.—Sidonian, 1st century B.C. to 1st century A.D. 


vessel with such lip, often characterized by an inner concentric foldover—Fig. 6, c-e. 
CORDED RIM LIP. Viewed from the side and seen in profile, the lip rim is seen 
to consist of several tiers, often twisted, of rods produced by winding a glass rod 
around the rim, in the 3d and 4th centuries or even later vessels —Fig. 6, f. 


TTT (6) 


Fig. 6. Lip rim forms.—Farly types, a, 4—later types, c, f. 


BRACELET RIM. A double ring around the rim began to appear in the middle 
of the Ist century, and consisted of the addition of a narrow band fused to the over- 
folded rim, like a glass bracelet with concave outer surface. At first inconspicuous, 
it soon was made quite large and noticeable, constituting a prominent characteristic 
of 2d century glass. Most globular sprinklers with inner diaphragm were made in 
that way. It was also used in wine bottles or toilet vessels with narrow and wide 
mouths.—Fig. 7, a-d. 


7 ae 


Fig. 7. Lip collars——Typical of 2d century A.D., a, d, d—of the 4th to 5th century 
LR as 


PINCHED OR TREFOIL LIP. The upper part of the neck was made funnel- 
shaped and slightly drawn out opposite the handle. The mouth was then pinched 
horizontally, near the spout end or in the center. When seen from above the opening 
appears as a small round hole in the middle of a trefoil leaf, the edges of which are 
sigmoid or curved inwardly except at the spout end.—Fig. 8. 
ALMOND-SHAPED LIP. The lip was drawn out into an open spout, but not 
pinched.—Fig. 1, 4 
14 


ROD-RIM LIP. The edge of the mouth opening was lined by a round rod, gener- 
ally with interior spiral threads. In mosaic glass vessels, and in those that consisted 
of different horizontal layers of lamellated glass, which were thereby held together 


ey TS? TL | 


Fig. 8. Types of trefoil lip rims, single and double pinched. 


and prevented from separating. The twisted and banded rod was used in 2d cen- 
tury beads.—Fig. 9, a-d. 

PLAIN ROD-BAND RIM. A plain but heavy rod-band was fused around the 
rim and served as a lip. Coarsely made rod-band rims became common in the 4th 
century and continued in all poorer qualities of glass. Especially marked in Sassa- 
nian and late Coptic glass.—F'g. 9, e, f. 

LOTUS RIM. In early Egyptian columnar balsam bottles the rim has the form 
of a half-closed lotus flower.—Fig. 9, g. 


THE NECK 


THE NECK OF THE GLASS VESSELS. The neck is absent or present, but as 
a rule occupies a prominent unit in the make-up of the vessel. At first the neck was 
small, moderate or insignificant, but even in early Egyptian times it attained con- 
spicuous proportions. In Sidonian glass the neck was moderately high, probably on 
account of the technical difficulty connected with its making. Very long necks did 
not appear until glass-blowing had been reasonably perfected, in the end of the Ist 
century and later in the 2d century. Extremely long necks were favored by the 
later Sassanian glass-makers in the 4th to the 6th centuries, and after them by 
the Persian and Arabic makers. Wide funnel-shaped necks appeared to be favored 
in the 2d century and later. Necks with extravagant bulges and rings were com- 
mon from the 4th century on. 


( 
Fig. 9. Egyptian mouth flanges, XVIIIth dynasty.—1st century B.C., ¢, d—6th to 7th 
centuries A.D., ¢, f. 


CYLINDER NECKS. The neck is cylindrical throughout. At first it was made 
from a separate tube and attached to the body (Fig. 10, a, 4). Later it was blown 
in one with the body. It gradually merged.—Fig. 10, c-e. 

CYLINDER NECK WITH CONTRACTED BASE. Already common in early 
Sidonian series, but continued.—Fig. Io, d. 


15 


CYLINDER NECK WITH A SLIGHT BULGE. The bulge at the base or above 
the shoulder was due to the circumstance that the body was moulded and that the 
parts of the mould did not reach to the top of the neck. These moulded vessels were 
based on a geometrical system, which is readily analyzed if we begin the diagram 
at the marked center of the little bulge, often difficult to ascertain without careful 
examination, but always present in all such vases.—Fig. I0, e. 

NECK WITH INNER DIAPHRAGM. The neck is always enlarged into a con- 
spicuous bulge near the base, and immediately below the bulge is a contraction 


tie We 
IK 


Fig. 10. Various types of the neck.—Cylindrical—base contraction—base bulge—the last 
from 2d century A.D. 


which sharply sets off the neck from the shoulder. Corresponding to this contraction 
in the interior of the neck is a diaphragm or disk with central minute opening. The 
smallness of the opening regulates the flow of the oil while the bulge above it 
catches the superfluous liquid and causes it to return. All these vases, known as 
sprinklers or aryballoi, are of small size, suitable for being held in the hand. Those 
with handles were used suspended by cords to the hands of the athletic bather or 
wrestler who oiled his body previous to the contest. The diaphragm in glass sprink- 
lers began in the latter part of the Ist century and became common in the 2d cen- 
tury A.D.—Fig. 10, f,g. 

FUNCTION OF NECK AND BODY. The junction varies considerably and often 
offers important chronological data. 

A SPECIAL TUBE. In the earliest pad-glass and tube-blown vessels the neck 
consisted of a special tube. It is simply a section of a tube fused to the body.—Fig. 
Il, @. 


IL Ge 


Fig. 11. Types of junction between body and neck.—Horizontal—gradual—sunk—con- 
tracted or funnel-shaped. 


DRAWN NECKS ABOVE A MOULD. In the Sidonian series in the time of 
Augustus the neck was produced by drawing after the bottle had been moulded, 
the junction where the drawing begins being marked by a ridge.—Fig. 11, 3. 
GRADUATED NECK. The neck is graduated by blowing from the body proper 
without break.—Fig. 11, c. 


16 


SUNK NECK. The base of the neck is rather deeply sunk below the upper hori- 
zontal of the body proper. Common in the 4th and 5th centuries.—Fig. 11, d. 
GRADUALLY CONTRACTED. The neck is gradually contracted towards the 
body proper.—Fig. 11, e. 

BULGE AT THE BASE. Already in the 2d century, or according to Kisa toward 
the end of the Ist century, it became the fashion to enlarge the neck at, or near, the 
base by interior blowing. The form of this bulge might prove important in dating 
vessels, but thus far significant details have not been noted with sufficient accuracy. 
Fig. 12. 


NS ann J. FE I 


Fig. 12. Neck base bulge.—1st and 2d centuries A.D., 4, d—3d century A.D., c—4th to 5th 
century A.D., d, e, f. 


DECORATION OF THE NECK. The decoration of the neck as well as the whole 
body was common since the XVIIIth dynasty. But the earliest blown vessels had 
plain necks. Threads wound around the neck made a style moderately used in the 
Sidonian period or series, and this became common in the 2d century A.D. Later 
the use of threads around the neck became extravagant, and in the 3d century 
A.D. we find the neck covered with thread waves, a decoration which also extended 
to the handles. In the latter part of that century we see the neck entirely obscured 
by wave decoration, connecting the neck rim and the shoulder, leaving the neck 
proper untouched. The collar decorating the neck was an addition in the 3d century 
A.D.—Fig. 13. 


THE SHOULDER 


THE SHOULDER OF THE VASE. The shoulder of the vase is that upper part 
of the body which connects with the neck and which is therefore more or less diago- 


BS REAR 


Fig. 13. Types of neck decorations.—3d and 4th centuries A.D., 2, —4th, c—z2d, d, e— 
old Egyptian, 7—2d to 3d, f to i. 


nally slanting, sometimes quite horizontal, at other times even sunk. The mould 
decoration on Sidonian vases practically always included the shoulder, so that when 
measuring the vase or calculating its geometric system we must note the upper part 


17 


of the mould, slightly above the shoulder. In the early vessels the decorations gen- 
erally included the shoulder both in moulded and dragged patterns of ornamenta- 
tion. But in the later vases, from the beginning of the 2d century, the decorations 
generally stop short of the shoulder region. Exceptions however are found when the 


KONG @ 


Fig. 14. Shoulder types——Gradual—cylindrical—sunk—-spherical. 


wound threads on the neck continue over the shoulder downwards over the body of 
the vase. The plain shoulder is more effective. The shoulder generally served as the 
lower place of attachment for the handles. We can distinguish the continuous shoul- 
der line as distinct from the well set-off line. The convex shoulder, the concave 


NRAAO 


Fig. 15. Shoulder types.—Ist century A.D. to 2d century A.D., a—3d century A.D., 4, ¢, 
d—x,th to sth, e. ; 

shoulder, the horizontal shoulder, the sunk shoulder are types which should be 

specially noted.—Figs. 14, 15, 16. 


THE HANDLES 


HANDLES. Handles appeared with the earliest glass vessels in imitation of the 
pottery handles, which latter had been in use since prehistoric times. The size and 


UE gon Nh I 


Fig. 16. Neck and shoulder types.—5 th to 6th century, a—1st century B.C. to 1st A.D., — 
3d century A.D., c—3d to 4th centuries A.D., d, e. 


form of the handles assist us at times in dating the vessels, but are not always an 
absolute guide. As a rule, it can be said that the smallest and simplest handles were 
the earliest and that handles gradually increased in size and evolved from simplicity 
and usefulness to complexity and extravagance. The greatest aberration was at- 


18 


tained in the 4th century, when the handles became numerous, ten or twelve on 
one jar. At the same time they were doubled vertically, besides being covered with 
finger catches in the form of flat, projecting knobs. At first the handles were smooth, 
but in the 1st and 2d centuries A.D. they were ribbed and covered with flat fins 
like a comb; at first they were rounded, but in the 2d century A.D. flat and broad 
handles also became fashionable; at first they ended where they touched the vessel 
proper, but in the 2d century A.D. they also were prolonged down the sides of the 
vessels; at first they were curved in simple fashion, but in the Ist century A.D. they 
became also angularly bent. Later they were sigmoid. In the 1st and 2d centuries 
they were sometimes given the form of small dolphins. In other words, handles at 
first made only for practical use became in time the principal decorative feature. 
KNOB HANDLES. The knob handles are strictly speaking only restrainers in 


UI 72H 2 AD 


Fig. 17. ‘Types of knob handles. 


order to keep the hands from slipping. The form is that of a small, compact, round, 
flattened or otherwise formed lump of glass placed on or below the shoulder. It is 
common on the Egyptian early alabastrons. It soon developed into the next follow- 
ing type.—Fig. 17, a, d. 

EAR HANDLES. The ear is a small curved rod, often not larger than the knob, 
but instead of being made of a small lump of glass it was made of a cut of a rod bent 


ee Ds 3 


Fig. 18. Loop and arch handles—Common, a—1st, 4—1st to 2d, c—3d, ¢—4th century 
Bel, 6; f. 


in semicircular form, placed on or below the shoulder, or, when larger, below the 
lip on the neck. Sometimes it was curved in different directions and became sigmoid 
and extended from top of neck to the shoulder. Common in the XVIIIth and XIXth 
dynasties and later.—Fig. 17, ¢, d. 

DOLPHIN HANDLES. The sigmoid ear handle was made thicker and heavier 
and shaped as a dolphin, head downwards, the loop representing the eye. Common 
in the so-called dolphin vases of the 1st and 2d centuries A.D., but not always well 
defined.—Fig. 17, e-g. 

LOOP HANDLES. The handle forms a loop or arch between the neck, or mouth, 
and the body proper. Fig. 18, a. 

ARCH HANDLES. These have both ends attached to the body of the vessel and 


19 


are either horizontal or perpendicular. Both kinds are often found on water jars.— 
Fig. 18. 

ROUND LOOP HANDLES. The handle was made of a round glass rod, the upper 
end of which generally, but not always, gripped the lip and ended on the shoulder. 
The form was either nearly straight, as on some amphore; curved evenly and cir- 
cularly; sigmoid; or angularly bent, in acute, in right or in obtuse angles.— Fig. 19. 


crrre¢e hf 


Fig. 19. Loop handles of round rods, earliest Roman types. 


FLAT-RIBBED HANDLES. The handle was made of three or more parallel rods, 
widening at the base, each rod projecting in a prong or tip, generally placed between 
lip and shoulder. This type is called by Kisa “celery” handles because they resemble 
the lower base part of a celery leaf with its projecting fibers torn loose from the 
stalk —Fig. 20, a-c. 


CCAM D HM 


Fig. 20. Flat composite handles.—2d to 4th century, a—“‘celery” handles, 5, c—2d, d— 
Ist, e—2d, f, g. 


MORE OR LESS SMOOTH, FLAT HANDLES. Made of flattened rods, often 
with raised margins. Began to appear in the Ist century A.D., becoming favorites 
in the 2d century A.D.—Fig. 20, d-. 

FLAT HANDLES WITH HEAVY EDGES. The handle is band-like with heav- 
ier edges which spread in large drops or claws where they join the body of the vessel. 
Ist and 2d centuries.—Fig. 20, g. 

ZIGZAGGED HANDLES. Beginning with the 2d century A.D. the round loop 
handles are often zigzagged. The zigzagging may be merely a waving of the rod, but 
in the 2d century A.D. it is often also accompanied by a pinching of the small 
knees, which frequently continues down the body of the vase as a special decoration. 
Later, in the 4th and sth centuries A.D., the zigzagged loops stand away from the 
body in a most bizarre and unesthetic manner.—Fig. 21, a-/. 

CHAIN HANDLES. Two separate rods were bent and rebent to simulate the 
loops of a chain. Sometimes the loops of the chain were actually free to move. These 
types were fashionable in the 3d and 4th centuries.—Fig. 21, k-n. 


20 


Plate 1. Moulded and carved head in two tints of blue glass. Egypt, XVIIIth dynasty. 
Louvre Museum.—See page 120. 


Zu 


a 


wie 
li il 


Plate 2. Core-wound glass vessels, Egypt, XVIIIth dynasty. Freer Collection, National 
Museum, Washington, D. C.—See pages 119, 120. 


= 


CORD HANDLES. Made of two twisted rods of glass, like the stirring rods of the 
early Roman empire. Comparatively rare.—Fig. 21, 0, p. 

PLATE HANDLES. Fiat, horizontal handles at each opposite end of the rim. The 
form varies, sometimes like a wide crescent, sometimes like a projecting deltoid 
tongue. Favorites in the Ist and 2d centuries A.D. Glass, metal and wood. Found 
with coins from time of Tiberius to Hadrian. On pottery, dated by Koenen, PI. 
XVI, 18, 27. Oswald and Pryce, Pl. LVII.—Fig. 22, a-d. 


Bd iti 
TBAT 


Fig. 21. Waved handles.—4th, a—3d, 4, d, e—2d, c—gth, f, g—4th, A—3d and 4th, i, 7 
—3d, &, /—4th, m, n—z2d to 3d, o, 2. 


RING HANDLES WITH FLAT GUARD. The ring handle consisted of a more 
or less perfect ring of glass attached to the neck below the lip rim, and generally 
furnished with an upper and lower flat guard or thumb rest. Such handles were 
common on cups of pottery, silver and glass in the Augustan era, but disappeared 


= od 


Fig. 22. Plate and tray handles.—1st B.C. to 1st A.D., a, B—2d, ¢, d. 


after the middle of the 1st century. They are characteristic of the green glazed 
Syrian pottery, of the Augustus and Tiberius cups and of the Varpelev cup in 
Copenhagen. Ist century B.C. to 1st A.D.—Fig. 23. 

HORIZONTAL HANDLES. Horizontal handles were used especially on water 


25 


jugs and jars, often alternating with perpendicular ones. They occur always in pairs, 
one for each hand, opposite each other. They can be considered as developed knob 
handles, and are of many sizes, sometimes arranged in horizontal rows on the same 
vase.—Fig. 24, a-e. 


SCS ITCCs 


Fig. 23. “Finger ring” handles.—Augustan era, a to d—-2d, e—1st A.D..,f, g. 


BASKET HANDLES. Generally of the 3d and 4th centuries A.D., imitating the 
handles of baskets. Fig. 24, 7, was made as a curiosity and in token of extravagance 
rather, more than for actual use. Paired upright standing parallel handles are com- 
mon on the cinerary urns, Ist to 3d centuries A.D.—Fig. 24,f-7. 


7 PX S8 I 


Fig. 24. Horizontal and basket handles—Common, a, 3—Augustan, c—3d, d—1st B.C. to 
st A.D., e—1st to 3d, f—3d, g—2d to 3d, 4—4th, i—2d, 7. 


THE UPPER ENDINGS OF THE HANDLES. At first the handles were at- 
tached to the mouth rim without special grip. Later they were made to bend over 
the rim so as to grip it firmly. Later a double or triple knee bend at the rim became 
common, especially in the 3d century. In the 2d and 3d centuries the grip at the 
rim was made to stand out at an acute angle some distance above the rim. Kisa, 


47.—Fig. 25. 


TeCCHLC EH 


Fig. 25. Types of the upper and lower endings of handles.—2d, a, —3d to 4th, c, d— 
4th, e, f—2d, g—aist, s—3d, i—3d to 4th, 7. 


26 


LOWER ENDINGS OF HANDLES. Generally the handle ends on the shoulder 
or body of the vase by means of a spread-out shield. In the 2d to 4th centuries 
occurred the “celery” handles, made of numerous round or flattened rods, each 
ending in a single sharp point. Sometimes the flat ending was enormously enlarged, 


ch Pe fh 
TID 


Fig. 26. Methods of attaching the handles—-Common, a—z2d to 3d, 5—1st B.C. to 3d 
A.D., c, d—ist A.D., e, f, g, A. 


forming a conspicuous shield. Sometimes again the rod was folded or waved and 
pinched into a continuous wave and fins, continued downwards below the bulge of 
the vase, even to its foot.—Fig. 25, e-/. 

PLACE OF ATTACHMENT OF THE HANDLES. The early knob handles 
were attached to or below the shoulder, and later between the neck and the shoul- 
der. In the 3d century A.D. the upper part of the handle often embraced the 
center of the neck. In the 4th century the basket handles rose, as a basket grip, 
in an arch above the mouth, or were attached to the lip rim, shoulder and neck at 
the same time.—Fig. 26, a—b; 24, 7, 7. 


eo eg 


Fig. 27. Loop handles for suspending ring decorations and pendants.—4th century A.D. 


RINGS AND EYELETS. Bronze and glass eyelets or bronze rings are sometimes 
found hung in glass handles. The earliest seen by the writer date from A.D. 140, 
two such vases being figured in Notizie degli Scavi, 1922, p. 230. In one vase we 
see about fifty eye-keys, in another about fourteen. Loose keys of glass are quite 
common in the 4th century Syrian tombs.—Fig. 27, a-d. 


27 


THE FOOT OF THE VASES 


The importance of the form and proportions of the foot can not be overestimated, 
as they sometimes furnish us with the means of determining the date. In the foot 
we find two main types or classes. It may either be in one with the body proper, or 
it may have been added after the vase was blown. Both types were used contem- 
poraneously, but each was more or less favored at different periods. The under side 
of the foot should be examined for stamp marks, letters or decorations. It should 
also be noted if the foot is flat or concave on the under surface or if the stem above 
the foot projects upwards into the bowl of the vase. The latter type is Arabic. 
Fig. 28, a. 


a ee eee eee Te 


Fig. 28. Types of foot-base—Syrio-Roman, a4, d—Roman, e—Arabic or Venetian, f. 


THE BASE 


The base is either an integral part of the body or has been added after the vessel 
was made. When an integral part, it is either flat, rounded or pointed. When not 
flat it is used with a tripod or stand, or placed in soft sand. When flat the base is 
often decorated with a name, a figure or with stars and spheres. The name and 


UU ae 


Fig. 29. Base types—Common types, a to e—4th, f—uist, h, i, &. 


the figure, generally Mercury or some other deity, were common in the Ist and early 
2d centuries A.D. The stars and spheres were used in the 4th and sth. It is of 
great importance for proper classification that such decorations should be given 
heed. Sometimes in the Ist century the base was slightly contracted, but still flat. 
—Figs. 29, 30, 31. 

In the beginning the applied foot was solid and frequently fashioned on a potter’s 


28 


wheel. This was the practice especially in the Ist century B.C. to the Ist century 
A.D., when the great majority of applied foot disks were made smooth on the under 
surface by grinding. The solidity made them heavy in proportion to their size, which 
was always small in proportion to the body, as we find it on the Arretine pottery of 


LS ese JL Jk Oh 


Fig. 30. Types of bases.—1st to 3d century A.D. 


the Augustan and Tiberian era. In the 2d and 3d centuries the hollow concaved 
or inverted funnel-shaped foot was used almost exclusively together with thin solid 
disks or applied rings of rod glass. Of the applied foot stand we therefore have sev- 
eral characteristic classes. 

THE PLAIN DISK. The plain disk cut out of a sheet of pad-glass was added to 
a tube bottle which had never been enlarged by blowing. Such bottles consisted of 
four distinct parts, made separately and joined by fusing: tube neck, disk shoulder, 


CN (ello 
aS Eb) 


Fig. 31. Bottom forms of moulded patterns.—2d, a—sth, 4—1st to 4th, c—1st, d—4th to 
5th, ¢ to o. The last two rows are Christian symbols: Old Testament, Star of 
Bethlehem, patens and hosts, Vision of Constantine. 


tube body, plate disk-base. Hardly seen or made after the early Ptolemies. But 
plain circular disks serving as a foot and applied to the base of the vessel were used 
after that time.—Fig. 32, a, d. 

THE PLAIN ROD RING. A plain rod ring, either round, as originally made, or 
flattened, was added to the base of many vases already in Sidonian times, and 
especially when the base as well as the rest was composed of stratified, mosaic or 


29 


ivory paste glass. The rod ring runs along the edge of the base, leaving the center of 
the base free.—Fig. 32, c. 

CRENULATE ROD RING. A waved or pinched rod ring added as a foot ring to 
vases appeared in the end of the 1st century and was sporadically favored in the 
2d and 3d centuries as well as later. On beakers and sprinklers, 2d century A.D. 
—Fig. 32, d. 

CRENULATE BASE THROUGH RIBS. A resemblance of crenulation was also 
produced by projecting ribs made of perpendicular rods.—Fig. 32, e. 


Fig. 32. Main types of vase foot Common, a—4th, 6—common, c—z2d to 3d and later, d 
—3d A.D., e. 


CONCAVED DISK BASE. The foot base is sometimes flat, but more generally 
concaved underneath. The cavity is sometimes connected with the rod or pontil 
mark but sometimes simply pressed in. In some instances in Arabic glass it rises 
into the cavity of the bowl part of the vessel. This style is of the 12th century A.D. 


bRewc KAMA es 


Fig. 33. Types of stem and foot units.—1st to 2d, a—1st, b—3d, c, d—3d to 4th, e—12th 
to 13th, Arabic, f—1st to 2d, g—2d, 4. 


and was previously incorrectly dated to the 3d century A.D. In early Roman 
times, including the Ist century B.C. to the 1st A.D., the foot was solid, or the 
cavity of the foot was small. With the 2d century and onward the cavity increased 


A/V Ax oe 


Fig. 34. 3d, a—1st, 2—4th, d—1st to 2d, e, f—3d to 4th, g. 


in size, and the Christian chalice in the time of Constantine and the early Byzan- 
tine period possessed a funnel-shaped foot, generally of extravagant size and height. 
— Fig. 33, 2-2; Fig. 34. 


30 


TYPES OF DECORATIONS 
APPLIED SURFACE DECORATIONS. Threads, rods, fragments of glass are 


applied to the surface and more or less pressed in the soft matrix. Sometimes the 
threads fall out and give the erroneous idea that the grooves were excavated in the 
matrix. From the XVIIIth dynasty onward. 

PAINTED SURFACE DECORATIONS. Enamel or ordinary earth colors. From 
the Ptolemies. The stratified eyes of beads and glass vessels have sometimes been 
incorrectly described as enameled. So too have the applied threads and rods. Italian 
dealers and archeologists are especially prone to this error; they call the threads 
“smaltato.”” Compare Kisa, pp. 146-160. 

CELL DECORATIONS. Excavations of cell-like cavities were filled at first with 
fitted glass pieces, later with enameled powder, which was fused to solidity. The 
fitted cells and cut glass date from the XVIIIth dynasty; the enameled powder 
from the Ptolemies. 

IMBEDDED DECORATIONS. Threads and rods of glass were made to dissolve 
in the matrix or on its surface. Ist and 2d centuries A.D. They sometimes came 
to the surface naturally, but in the majority of cases they were made visible by 
grinding the matrix. 

MIXED MATRIX MOSAICS OR “BRESCIA.” Fragments of glass were dropped 
into fused matrix, used for pad-glass. The surfaces of the fragments adhere but 
slightly to each other. From XVIIIth dynasty. 

STRATIFIED RODS. Pads were made of rods of glass and twisted into beads 
or tubes. 1st century B.C. Venetians revived the art. 

STRATIFIED LAYERS. Sheets of glass of different colors were fused and cut in 
strips, in which the layers were exposed. Both beads and vessels were made from 
them. 2d century B.C. to 1st A.D. 

COLUMNAR MOSAIC BY RODS. Millefiore glass. Different colored glass rods 
were placed parallel and fused. Their cross sections produced the decorations. 
STRATIFIED EYE DECORATIONS. These were made by applying a large 
globule of glass to the surface of a bead or vessel, and after pressing it into the soft 
matrix, applying another globule of smaller size. When flattened and polished, the 
unit would appear as an eye. From the XVIIIth dynasty to the later Ptolemies, 
when it was replaced by the columnar rod technic. 

SCATTERED SURFACE FRAGMENTS. Granules of glass were scattered over 
the semifused surface and rolled. Common in the 4th century A.D. 

GUTTA DECORATIONS. Soft drops of glass or granules of glass were applied to 
the surface and fused sufficiently to appear like drops on the surface. They became 
common in the Ist to 2d centuries A.D. 

DISKS. Disks of glass, often with moulded decorations, were applied to the surface 
of a glass vessel and caused to adhere by fusing. The technic came from pottery 
and metal work. Most common in the Ist to 2d centuries A.D., being revived by 
the Sassanians and becoming once more common in the 4th century A.D. 


31 


CAMEO DECORATIONS. The glass matrix was made of two layers of differently 
colored glass. The upper layer was partly cut away in patterns. 
INCRUSTATIONS OF NATURAL OBFECTS or imitations. Natural shells or 
imitations of these and similar objects were applied to the surface in the degraded 
art of the middle Roman empire. 

BARBOTINE AND SLIP ON GLASS. The names barbotine and slip are given 
to a liquid paste made of oils, water and powdered glass or earth colors, applied to 
the surface of the glass in liquid form and later fused and hardened by heat. It was 
formed both before and after heating, in designs of vine bunches, leaves, tendrils, 


Pars 
na ed (ats 


Fig. 35. Types of lamellated decorations on mosaic glass, Augustan era. 


stems, still-life decorations, as well as human and animal figures. The finest speci- 
mens date from the Ist century A.D.; the greatest number and least perfect from 
the end of the 3d to the middle of the 4th century. The technic did not adapt 
itself well to glass, though a few very fine specimens are known (Kisa, Figs. 112, 131, 
136). Especially common in the 2d and the 3d centuries A.D. on pottery. 

LAMELLATED PATTERNS. Made of flattened rods, like strips of glass, often 
alternating with thin square or circular disks. The pattern was arranged on a thin 
sheet of glass, generally of bluish tint and transparent, secured by gum or mastix. 
It was then fused to adherence by heat. The bands are either parallel or scattered, 
and as the patterns on the two sides of the glass never match in position, parts 
covered in this way, when held up to the light, appear darker than the rest; or when 


ae Mh SS Bi 


Fig. 36. Applied wave threads, end of 2d to 4th A.D. 


blue overlaps yellow the streak becomes green. According to the arrangement we 
have parallel bands, arranged to form a cross or segment; fragmentary and scat- 
tered patterns, as in the famous Vatican crater cup; tesselate and checkerboard 
patterns; or the bands alternate with trina rods with interior spirals. Ist century 
B.C. to Ist century A.D.—Fig. 35, a-e. 

WAVY AND CROSSING RODS. The pattern is produced by rods and threads of 
glass in various ways: (a) Net work, in which the parallel rods cross at certain 
angles, producing square or lozenge-shaped fields. (b) Perpendicular or horizontal 
alternating wavy rods, so arranged that the crests meet crests and the vales meet 


32 


Plate 3. Core-wound glass, XVIIIth and XIXth dynasties. Egypt, I, columnar balsam 
flasks. Mrs. W. H. Moore Collection, c. All the rest from the Freer Collection, 
National Museum, Washington, D. C.—See page 121. 


a 


Plate 4. Core-wound glass, Egypt. Amphorisks, pitcher, about 8th century B.C. Alabas- 
trons and pitcher, 6th to 3d century B.C. Mrs. W. H. Moore Collection.—See 
page 122. 


30 


the vales. Common in the 3d and 4th centuries A.D. A similar arrangement is 
found in the diatretum glass, but in this glass the rods were partly separated from 
the matrix by cutting. (c) In some 4th century vessels the waves were strung be- 
tween shoulder and lip, leaving the space between them and the vase free. Mostly 
of the 4th century A.D.—Fig. 36, a-/. 

DRAGGED PATTERNS. Already practiced under the XVIIIth dynasty (1400 
B.C.) and continued to our day. Used by glass-makers as well as by cake and candy 
makers. Threads and rods of glass were placed on or wound around a vessel, and 
while yet soft from heat, the arrangement or parallelism was disturbed by dragging 
upwards and downwards with a metal point. According to the manner of dragging 
we can distinguish the following patterns: (a) Waves when the threads are but 
slightly disturbed. (b) Zigzags when the crests are pointed. (c) Arcades when the 
crests are rounded like arches. (d) Garlands, when the upper crests are angular and 
the lower vales round like hanging garlands. (e) Plumate, when the threads are 
thin and close and the displacement is acute, like the rays in a plume. (f) Helicoid, 
when the ends of the drag curl up, like the end of a helix shell. (g) Scattered foli- 
ate, when the strokes were diagonal and irregular, as on the sth and 6th century 
A.D. glass. (h) Foliate, when the leaves are flat and wide, like the leaflets on a 
composite leaf—Fig. 37, a—k. 


RA VAY AAI IW WW 


Fig. 37. Dragged wave decorations—Wave, zigzag, arcades, garlands, plumate, helicoid. 
Second line.—Scattered, foliate, tree of life or herringbone, corded, parallel, 
closed zigzags. 


OVERLAID AND FOLDED THREADS. Superficially resembles stratified glass 
but was made of threads confined to the surface of the glass matrix. We can sepa- 
rate the following types: (a) Single fold when a strip covered with one or more 
glass threads is bent into a loop. (b) Waves, when the strip is waved. (c) Double 
fold. (d) Herringbone pattern, when the two strips on which the strips run in differ- 
ent directions, are joined. (e) Diamond loops, when two waves meet to form an area. 
(f) Ear loops, when the meeting loops are almost closed. (g) Lunate, when two 
loops are joined with their crests instead of with their openings. In all these pat- 
terns the lines consist of surface threads upon a strip bent upon itself—Fig. 38, a-g. 
SERPENTINE DECORATIONS. The serpentine decoration on antique glasses 
was practiced especially in the Rhine valley and is rarely found on Syrian glass. 
The technic consisted of applied threads of glass, sometimes left in the round, some- 


37 


times flattened, and sometimes furrowed by means of a creased roller or stamp. 
The earliest application consisted of opaque white threads. Later, in the 5th to 
6th centuries, green, yellow and violet threads came to be preferred. In the 2d 
and 3d centuries the serpents are practically always horizontal with perpendicular 
or diagonal folds. In the 4th century the main direction of the body is perpendic- 
ular, with the folds horizontal. 


[ 
© 


Fig. 38. Overlaid and folded thread patterns, mostly 3d to 4th A.D. 


The earliest threads, that is, those found in the early part of the 2d century, 
imitate the vine branches of the glazed pottery of that period. But in the 2d to 
3d centuries the horizontal serpents are furnished with enormous crudely made 
open jaws and heads. In the 4th century upright serpents, the jaws are not open 
and the head is merely emphasized by a swelling or lump, possibly by a circular disk. 

In ancient times serpents were sacred and represented the household gods. They 
were sacred symbols which indicated that the place should be respected, and not 
be defaced or polluted. Persius, Sat. I, 13.)—Fig. 39, a-e. 

In Brittany persons carried snakes with them in order to neutralize the power of 
a witch or sorcerer, to prevent being hypnotized and to bring it about that all 


6 he Siew 


Fig. 39. Applied threads, serpent designs, 2d to 4th A.D. 


objects would appear to them as they were (Lewis Spence, “Occult Brittany,” Occult 
Review, May 19, 1924, p. 277). The many serpent decorations found on German 
glass would be better explained by this theory than the one generally accepted, 
that serpents symbolized wisdom, in the north of Europe as well as in the south and 
in the Orient. Serpent threads were also common on beads, favored, though probably 
not made, in the north of Europe, during the 6th and 7th centuries A.D. A flask 
with bulging body, one handle decorated with yellow and blue serpent threads, was 
found with coins of Julia Domna, Hadrian, the Antonines and Julia Maesa. (Otto 
Jahn, Bonner Fabrb., 1863, 34.) 


38 


WAVE BAND BETWEEN BORDER LINES. The decoration consists of a con- 
tinued wave or glass threads bordered on top and base by a horizontal guard line 
of glass. It is generally applied on the neck and in a manner to stand out promi- 
nently. 3d to 4th century A.D.—Fig. 40, a-g. 

INCRUSTATIONS. Incrustations are decorations applied to the surface of the 
glass in the form of granules, drops and disks. In classic times the granules were 


7 
ALT TR RR TTP 


Fig. 40. Waves between borderlines, 3d and 4th centuries A.D. 


rolled in, but later, after the 4th century A.D., and especially under the Sas- 
sanians and the Arabs, the drops were left as bosses on the surface. The types illus- 
trated in the text figures are those most prevalent. 

GUTTA DROPS AND GRANULES. The granules were fused in the surface and 
became rounded as to outline. The colors are blue, brick red, ochre yellow, etc., 
never very brilliant until the 4th century. 


GS Ys 


oe 41. Gutta drop incrustations, disks—1st to 2d, 4, B—Venetian, c—hour-glass, d— 
disks, Augustan, e, f—4th to 5th A.D., g. 


APPLIED MOSAIC DISKS. Sections of mosaic rods were applied on the glass 
surface, fused and often rolled in the matrix.—Fig. 41, e,f. In Sassanian times glass 
pads having the form of sheep or cattle hides were a favorite decoration.—Fig. 41, g. 
TEAR DROPS AND SCALES. Two drops connected with a slender body and 
applied to the surface are known as tears. Those crenated or waved on the crest are 
called “elephant trunks” by Kisa. Pointed drops were common. The large drops with 
a point are called pine scales; the thin compressed ones are called fins.—Fig. 42. 

DROPS ARRANGED AS ROSETTES. A larger central drop was surrounded by 
some smaller ones in a circlet, or many small ones were arranged as grape clusters. 


39 


The units were circular or oval. Common in the 3d and 4th centuries A.D., but re- 
vived with brighter colors by the Arabs in the 12th to 14th centuries A.D. and 
later —Fig. 43. 

PETALS AND BUDS. Sections having the form of petals, or hearts, triangles, 
lotus buds or almonds, and small disks. Kisa dates the earliest to the 1st century 


OR @e so ( (ME 


Fig. 42. Applied drop forms, tears, pine scales, fins, star-beads.—3d to 4th—Venetian 14th 
to 15th century A.D., star-beads. 


A.D., which is doubtful. The lotus buds (Fig. 44, c,d) are certainly not earlier than 
the 1st century A.D. 

APPLIED DISKS WITH FIGURES. Disks with Medusa heads were in use as _- 
surface decorations from the 1st century B.C. and became common both on glass 
and pottery during the 1st and 2d centuries A.D. In the 4th and 5th centuries A.D. 


OO): ° oO h (eo) ee 
e00() coo 099 O 00.0 O90 %% 00 G 
°° 00 Re a Pes OG oee) 
a Sons 94 0a 
Fig. 43. Drops arranged as rosettes and grape bunches.—3d, a—3d to 4th century A.D., 
b toh. 


00 


the Sassanians decorated their glass with disks containing moulded birds, Pegasus, 
lions and heroes. The Christians stamped the image of St. George on theirs —Fig. 45. 
ANIMAL FIGURES WITHOUT DISKS. The application of small-formed fishes 
and shells to glass vessels became common in the 3d and 4th centuries. Some of 
them are crude but life-like—Fig. 46. 


Vey — 6G BX o& 2B C)E 222 (a) 


my, 44. Applied petals, lotus a disks.—1st to 4th century © D., generally late. 


ENAMEL DECORATIONS. For the sake of convenience we can distinguish the 
following types of enamel used in antique glass and kindred objects, all seemingly 
derived and developed from the inlay with colored glass: 

BRUSH ENAMEL. Pulverized glass was mixed with some adhesive and applied 
by painting on glass vessels which were reheated, whereby the enamel adhered to 
the surface. Oldest specimens examined by the author date from the time of Augus- 
tus, and consisted of representations of laurel wreaths and simple decorations. 
PIT ENAMEL. The powdered glass, after mixing with adhesive, was placed in a 


40 


previously excavated depression or cavity, such cavities being in time arranged to 
form a decoration. Kisa (pp. 145, 158 and 507) dates this technic to the 2d cen- 
tury A.D. in Britain and Gaul, while Maspero and others claim that enamel was 
used already in the XVIIIth dynasty. Semper and Virchov date the pit enamel to 
1000 B.C. (Virchov, Arch. Congress in Breslau, 1884), but the earliest so far recog- 


@ OOS OS 


Fig. 45. Applied disks with figures.—Augustan to 3d, 4, c—4th to 6th century A.D.—4, d, 
é, f, g—Sassanian, and Christian. 


nized with certainty is among the decorations of the Meroe treasure, now in the 
Antiquarium of Munich (Christ und Lauth, 1870, p. 40) as of the 3d century B.C. 
In Greece the earliest known enamel goes back to the 4th century B.C., also in 
the Munich Antiquarium (Christ, Fiibrer, p. 39). 

THE CELL TYPE of enamel is the most common, cells being built up of threads 
of metal or strips of metal sheets, filled with enamel paste and fused. The date is 
uncertain, as most investigators have mistaken inlay for enamel, but it seems prob- 
able that such work was well known in the 4th to 6th centuries A.D. 

FURROW ENAMEL. This name was introduced by O. Tischler (Kurtz, 4ér. d. 
Geschichte des Enamels, 1886) for furrows filled with colored glass, dated to the Hall- 
stadt period, early first millennium B.C. This technic was, however, produced by 
glass threads. It has also been assumed, but erroneously, that the glass threads 
found on beads were placed in excavated furrows, instead of being simply pressed 
into the glass matrix. 

EARTH COLORS SURROUNDED BY BLACK OR ENGRAVED LINES. 
Most of the specimens decorated with painted designs in earth colors are surrounded 
or edged by black lines. This was done to emphasize the design and to prevent the 
spreading of the colors. The finest specimens of this technic come from the Danish 


Ry yOu Qs # 


Fig. 46. Applied animal types.—4th, ¢ to d—2d to 3d century A.D., ¢ to g. 


tomb finds. The vessels are in the form of small cylindrical cups, scyphi, and rep- 
resent scenes of the chase, hounds, lions, gladiators, birds and even letters, all de- 
signed with spirit and art, full of movement. The borders are often lined with cir- 
cular dots in bands. Even names were painted, and the large vacant places were 
filled by heart-shaped petals. Such petals were used in Sassanian times and con- 
tinued in use to the time of Chosroes II, in the 7th century A.D., or later; they 
were also in use at least as early as the 2d century A.D. Some are Christian, others 
Sassanian.—Pls. 103, 104. 


Al 


Another series of painted designs represents amorines, grapes, birds, ivy wreaths, 
leaves with tendrils, stars, amorines fighting storks, pagan deities, and arches, grape 
vine trellises and birds, the latter from Khamissa in Algiers, like the cameo design 
on the Naples amphora. Some of the most important of these vessels are reproduced 
by Kisa in Das Glas, Figs. 338-353. 

It seems probable that the art continued in use down to the Byzantine period 
when it was applied to metal work. Later it was perfected by the Arabs, especially 
in the gth and 13th centuries. 

GOLD ENAMEL PAINTING. In conjunction with ordinary enamels, gold, pul- 
verized and mixed with glass powder, seems to have been used as early as the Ist 
century B.C. Of this type are the gold stars on the Sacro Catino of Genoa, and prob- 
ably the hunting scene on the plate in the Terme Museum in Rome, the latter dated 
to the Ist or 2d century A.D. Various gold-glass specimens of the 4th century are 
claimed by Kisa to have been decorated in this technic, which is, however, quite 
distinct from the gold-glass graffito. Both are, however, sometimes used together. 
PRESERVATION OF THE PAINT. Inorder to preserve the paint it seems that 
the surface was covered with some glaze or varnish. The quality of this varnish is 
not known, but as it was not soluble in water we might assume that it partook of 
the quality of fir balsams, which when dried are impervious to water. 
MOULDED DECORATIONS. The Sidonian glass is generally moulded and cov- 
ered with decorations of columns, arches and sacred vessels. In the Ist century 
gladiatorial figures began to appear alternating with laurel wreaths and objects of 
the arena. This technic of moulding continued and was once more revived in earnest 
in the 4th century A.D. both on Christian and pagan vessels. 

DESIGNS BY MEANS OF STAMPS. The early mouldings were always in re- 
lief. Later, when this art became difficult, the use of stamps was introduced. In 
these the design was raised, so that it appeared concaved on the matrix. This tech- 
nic was common in the 4th century A.D. At this time the stamps were often de- 
signed with both convex and concave figures which on that account are confusing 
and difficult to decipher, especially those on the sacred Jewish and Christian glass 
of the Constantinean period. 

BUCKLED DECORATIONS. Already in the 1st century A.D., but especially in 
the 2d, the sides of flasks were pressed in, the decoration having the form of a 
sunken oval. This decoration was repeated and yet in use in the 4th and sth 
centuries A.D. and never went out of fashion. 

GROUND SURFACES AND DECORATIONS. The grinding of glass dates from 
the old Egyptians and was made by emerald powder and corundum. It was much 
in use under the Ptolemies, when all vessels were made of pad-glass, and were 
given their final appearance by grinding on a wheel. Until glass-blowing was in- 
vented, all bases of vessels were made flat by grinding. The use of grinding con- 
tinued, and in the 4th century A.D. we find that the heavy ee be of solid 
glass were ground to shape. 

Ground decorations of circular disks, oval disks, and plain concaved lines began 


42 


in the Ist century A.D. but became a favorite technic in the 2d century A.D. It 
never went out of fashion. Many of the finest ground-glass beakers and glass flasks 
belong to the 3d century A.D. It is said by Kisa and others that all the diatreta 
vessels belong to the 3d and 4th centuries A.D. 

HONEYCOMB CELLS. Decorations with ground-out outlines of hexagonal honey- 
comb cells, alternating with diagonal lines and ovals in rows and parallel lines or 
bands, were made in Syria, although some vases have been found in Roman tombs 
in Germany. The only dated vessel was found with coins of Divus Maximianus 
Augustus, Roman emperor 286-305, d. 310 A.D. (F. Wieser, Rém. Glaser, Pls. II, 
Ill. Bonner Fabrb., 1876, p. 64-87, Pl. III, 3.) 


ROD DECORATIONS 
DECORATIONS WITH RODS. In the XVIIIth dynasty it became the habit to 


confine and strengthen the rims and lips of vessels by means of simple or spirally 
wound rods. Later the whole vessel was made of rods, especially in the time of 
Augustus. But the Venetians developed the technic and produced marvels of flat 
dishes entirely composed of rods. For such purpose both plain and filled rods were 
used. The use of rods in the 2d century led, it would seem, to the invention of 
stratified glass. The technic of these types is as follows: 

VESSELS MADE OF PLAIN RODS. A pad was first made of rods, placed side 
by side on a flat surface. The pad was fused to adherence and then rolled up on it- 
self to form a tube. The end of the tube was closed by twisting or otherwise and the 
tube enlarged by blowing. When alternating colors were used, these were often sep- 
arated by uncolored rods. The same process was in use with composite rods. The 
tube was sometimes drawn out when closed, and this point became the very center 
of the flat dish, and was made to connect with the foot stand. At the same time the 
upper end of the tube was spread out, thereby widening the rods and their decora- 
tions, if such were present in the original rods. 

TRINA OR LACE-GLASS RODS. The production of rods with inner opaque or 
colored spirals was quite simple. The art, common in the time of Augustus, was 
greatly improved by the Venetians, but ruined by the modern makers by too extrav- 
agant use of the technic. A hollow mould in the form of a shoe or flat tube, six 
inches or so long, was made of clay. In this mould was placed one, two or three 
opaque or colored rods, close to one side and close together. The rest of the shoe 
mould was packed with uncolored rods and the whole fused to adherence. When 
cold, the clay was removed, the glass bar was reheated and drawn out. At the same 
time as it was drawn it was twisted and turned, with the result that the opaque or 
colored rods assumed the form of spirals. Lace glass was made up of such rods. 
BANDS AND RODS FUSED IN THE MATRIX. A purely decorative effect was 
produced by permitting opaque rods pressed into thin bands to fuse on the sides of 
flasks and dishes until they were incorporated in the matrix. For this purpose the 
glass vessel, flask or tube, was wound spirally with such threads and rods. When the 
fusion did not proceed too far, the bands remained on the surface. When continued 


43 


too long, part of the rods penetrated into the matrix while other parts remained on 
the surface. One of the finest urns in the Gréau Collection in the Metropolitan 
Museum was made by using bands made from stratified glass. 

GOLD-GLASS RODS. Gold-glass rods were used both in the stratified-rod type 
and in beads. The technic consisted in covering a perforated rod with gold leaf and 
inserting it in a larger tube, and fusing the two elements to adherence. In the fin- 
ished bead or vessel the margins had to be covered by fused glass, or they would 
separate. The gold never came to the surface unless the rod was broken. In the 
place of gold, silver was sometimes used. Beginning with the 4th century, enamel 
or plain earth color was also employed, but with inferior effect. We can therefore 
separate three types: gold-glass, silver-glass, and painted imitations. 

INTERIOR MATRIX DECORATIONS. The object of this type or types was to 
imitate stones, such as marbles and onyx. It was accomplished by mixing cut, 
crushed or otherwise broken fragments of colored and opaque glass, together with 
uncolored pulverized glass. By using large colored pieces, square cubes, or sections 
of rods, a variety of patterns was produced. Some resemble brescia, others conglom- 
erate, others onyx and chalcedony. As the true mosaic and millefiore glass began to 
disappear, the use of onyx glass increased or took its place. It is often difficult to 
determine whether a vessel or bead is made of onyx glass or of onyx, unless it is 
permitted to handle the vessel. If it feels cold to the lips, it is stone; if warm, it is 
onyx glass. If full of minute inner bubbles it is glass; if free, it might be onyx. The 
rings in natural onyx were imitated by the use of alternating transparent and opaque 
rods. The art never died out, nor was temporarily lost. 

OPUS INTERRASILE OR OPEN WORK. This technic was common in the 
time of Augustus and continued. The best known specimen is the Varpelev cup 
found in Denmark. In this technic a cup of colored glass is covered with a holder in 
open work which permits the inner colored cup to be seen. The cover was of silver, 
gold, wood or glass. The Hermitage cup is of this type. Another cup owned by 
Baron Rothschild in Paris is entirely of glass. 

DIATRETA GLASS. The name means “‘cut through” glass, because the vessel 
consists of an inner glass cup which is covered by and connected with a decorated 
glass holder in open work, by means of small glass pegs or supports, assumed by 
most writers to have been produced by cutting out the design from the same matrix 
as the inner cup. All authors date this type of glass to the 4th century A.D. be- 
cause the specimens were found in German tombs of that period. But as tomb-finds 
in northern Europe were almost exclusively brought north by vikings and legion- 
aries who acquired them by tomb robberies in the south, it seems quite probable 
that these precious objects belong to a much earlier date, probably the 2d and 3d 
centuries. Some may be even earlier. While it is possible, as has been actually done, 
to make such glasses out of a solid matrix, it seems probable that those found in 
ancient tombs were made by first covering the cup with an applied designs} later 
cutting and polishing it like any cut glass. 


44 


LENSES AND PLATES 
GLASS OPTICAL LENSES. Layard in his Nineveh and Babylon, p. 197, men- 


tions that the use of lenses for focusing the rays of the sun were known to the 
ancients. Aristophanes, in Clouds, 746-749, makes Strepsiades propose to obliterate 
his debts from the wax tablets on which they were recorded by means of that trans- 
parent stone with which fires are lighted. Theophrast in De [gne, 73, refers to the 
same. A lens 1% inches in diameter, plane convex, was found at Nimrud. It pos- 
sessed 414 inches focus. Seneca too describes how a hollow glass globe filled with 
water enlarged letters placed on the other side from the viewer. A plane convex lens 
was found at Nola, Italy, near Vesuvius, in a Greek tomb, according to Minutoli. 
It was set in a frame of gold and was 2 by 3 inches in diameter. Another lens was 
found in England, and others have been found in Pompeii, in Cyrenaica and at 
Mainz in Germany. Eyeglasses must have been known. Brutus mentions in a verse 
a certain Patroclus as a “faber ocularis” or spectacle maker. But there is reason to 
believe that the so-called emerald used by Nero in viewing the games in the circus 
was only a plain sheetof emerald-colored glass, of the type found in Sidonian glass of 
the “temple type” described later. 

It is, however, not possible that the objects with which Archimedes is said to 
have fired the Greek fleet could have been made of glass. Certainly they were not 
refractors, because, on account of the lay of the harbor, the fleet must have been 
in the south and the city in the north. This would demand reflectors, not refractors. 
It seems most probable that it was reflected light, not fire, which confused the 
sailors. These reflectors might have been made of metal. 

Recently a most interesting find of a pair of spectacles was made by Father 
Delattre, of Carthage, Africa, in a 5th century tomb at Carthage, according to in- 
formation and a photograph shown me by Count Kuhn de Prorok. The lenses are 
of the size of ordinary lenses, apparently about one inch in diameter, ground plane 
convex or convex concave. They were set in bronze, which had so decayed that it 
could not be refitted. The numerous beads in the tomb are of the 5th century B.C., 
and include cuff beads, fig beads and beads with knobs and faces, such as are common 
in the Etruscan tombs, displayed in the Villa Giulio Museum in Rome. 


WINDOW GLASS. A considerable number of window glasses have been excavated 
in Pompeii and at Ostia. The writer was present when a large pad-glass pane of 
glass was found in the excavations at Ostia, in a house of the Ist or 2d century. 
Such panes were set in bronze, stone or wood. Pieces of 30 by 40, or even 60 cm. 
have been found. They are generally thick, from two to six millimeters or over. 

It is also related that the Roman gardeners grew early vegetables under glass. 


MIRRORS OF GLASS. It is not known that the ancients knew how to make tin- 
lined glass mirrors before the 6th century A.D. Aristotle speaks of mirrors of 
polished metal covered with crystal. Pliny, who mentions glass, tin and quick- 
silver, does not associate these materials with mirrors. He says that the Sidonians 
made glass mirrors (36, 193). Pausanias mentions a mirror in the Temple of 


45 


Diana in Arcadia. With certainty, glass mirrors are mentioned in the 3d cen- 
tury by Alexander Aphrodisias (Problemazta, I, 132). Beckmann, however (Geschicht. 
d. Erfindungen, III, 501), states that tin foil and glass was first used in the 6th 
century. The stone fengites mentioned as having lined the walls in the portico on 
the Palatine in the time of Commodus, has never been identified; not even a small 
fragment was recovered when the palace was excavated by Boni. This stone, 
possibly mica, reflected the image so that the emperor did not need to turn around 
to see the one who entered behind him. (Daremberg et Saglio, Verre; Michon, M.E., 
Bull. Archeol. 1919, pp. 231-2503 1911, pp. 191-207; Guimet, Les Fouilles d’ Antinoe, 
p- 6; Garnier, Hist. de la Verrerie et del Emaillerie, p. 48; also Bull. Soc. d. Antiquaires 
de France, 1891, p. 14; Miroires du Musée du Louvre; Kisa, Das Glas, p. 357; 
Marquardt, Bonner Fabrb., 85, p. 156; Pliny, 36, 46. 

The ancients, since the time of the Ptolemies, knew how to anneal glass with gold 

leaf, and it would have been strange had they not learned that metal so affixed also 
reflected images. 
EGYPTIAN MOSAIC GLASS INLAY. The habit of using inlay of colored glass 
in metal, the colored glass units being separated by metallic boundary walls, was 
already known in the XIXth dynasty, and probably also in the XIIth. But as 
far as we know, the technic of fusing the glass elements before applying them, and 
thus doing away with the metal partitions, can not be earlier than the Ptolemies. 
In the metal cells the glass was fixed to the background by mastix or gum. The use 
of cement as fixing material originated with the Greeks about the time of Alexander. 
ROMAN MOSAIC INLAY OF GLASS. It is certain that mosaic inlay of glass 
was used in the Ist century A.D. and probably before.:Cubes of colored glass set in 
cement were of common occurrence in Pompeii, the best known specimens being the 
celebrated fountain niches in colored glass. The glass columns in the theater of 
Scaurus, of which Pliny and others speak, might have been of this kind, and not 
entire glass units as is generally assumed. The finest extant glass mosaic is the one in 
the Constantinean chapel adjoining the Lateran. It occupies the ceiling to the left in 
a small chapel, and is made with superb blue and gold cubes. Kisa gives a full 
account of this subject in his Das Glas, p. 368. From the references of ancient 
writers, it is evident that the covering of the walls with glass cubes and plates of 
mosaic glass was a favorite fashion during the time of the Roman empire. 

As early as the time of Augustus, cubes of transparent glass with a gold film on 
the reverse side were in use and it is therefore erroneous to believe that such gold- 
glass cubes were first used in the 6th century, for example, the Byzantine mosaics 
in Ravenna. A beautiful panel of colored mosaic cube design with gold-glass back- 
ground of the ist and 2d century A.D. is now in a New York collection. It is also 
supposed that much of the mosaic fragments with microscopic designs, datable to 
the time of Augustus and the later Ptolemies, were used as inlay in furniture and as 
personal ornaments. 


46 


DEFINITIONS OF COMMON VESSELS—DISHES 


SALVER. A flat dish with flat rim; sometimes slightly sunk in the center. 
—Fig. 47, 4. 

TRAY. A flat dish with raised, perpendicular rim.—Fig. 47, 4. 

WAITER. A tray of undetermined size and form. 

TRULLA. A flat tray with handles designed for receiving the drops poured from 
a ewer over the hands of the diners. Sometimes the trulla had a foot-stand oppo- 


———0—¥ 


Fig. 47. Salver, waiter—Trulla—platter—paten on top of chalice—1st to 4th century 
A:D; 


site the handle in order to present the decorated side of the tray to view when not 
in actual use. The trulla broken by Petronius was famous, but its physical char- 
acteristics are unknown.—Fig. 47, ¢, d. 

DISH. The name is derived from a disk or discus, a circular flat object used in 
contests of throwing. The latter was, however, entirely flat, whereas modern dishes 
are concaved in order to hold food, water or the like. 

PLATE. A flat dish with sunk center and flat rim used at table. 

SAUCER. A small plate, generally used as support for a cup but also to contain 
desserts, etc. 

PLATTER. A large plate to contain food; generally of oblong form for greater 
convenience in serving.—Fig. 47, ¢. 


ep GS JS Vv wD 


Fig. 48. Phial, drinking cups, patella and patera bowls, 1st century B.C.—2d century B.C. 
Ptolemaic silver, d—probably “simplum” cup, e—Lower row, Ist and 3d A.D. 


PATINA or PATEN. The eucharistic plate, its place when not carried being on 
top of and asa cover to the eucharistic chalice. It is represented on top of chalices 
of the 4th century A.D., as will be illustrated and described later. The patina 
was also used for serving and for cooking, and in the latter sense would correspond 
to our pan.—Fig. 47, f. 

PHIAL. In Roman times a phial was a flat dish or plate with a central underneath 
concave boss. The cavity was for the placing of one finger in order that the vessel 


47 


might not slip from the hand during the libation. In the patella, also used for sac- 
rifices, a cuff ring or foot, also hollow underneath, served the purpose of a finger 
grasp. It was also known as “phiale omphalotes,” meaning a phial with a navel. 
When spelled via/, the name denotes a small bottle or test tube.—Fig. 48, a. 


CUPS AND BOWLS 


DRINKING CUP. Earliest drinking cups were fashioned after a section of a gourd. 
In the 1st century B.C. to the 1st A.D. the cups were semicircular and deep, often 
rather pointed, made of pad-glass, metal or pottery. The common kinds were with- 
out handles.—Fig. 48, 4. 
BOWL. Larger cups, generally with spherical body and without large handles. 
Used on a low tripod, unless furnished with foot ring.—Fig. 48, c. 
PATERA BOWL. A bowl type common already in the time of the Ptolemies, 
made of silver or glass. The rim was more or less upright and not always included in 
the mould. The body was generally moulded and decorated with exterior flutings 
or ribs. Prototype, Ptolemaic silver patera; later, Sidonian, Ist century B.C. Flat 
forms of the Augustan era to the end of the 1st century, when once more they be- 
came higher, always without handles.—Fig. 48, /, &. 
PATELLA CUP, SACRIFICIAL CUP. A much smaller cup suitable for being 
held in the hand of the sacrificer. Its body was contracted in three successive tiers 
from rim to base; each following the circular form until the 2d century, when the 
lower part becomes more funnel-shaped. These cups were always furnished with a 
low foot ring at the base, so as not to slip in the hand. All the early Roman emperors, 
when represented at the sacrifice, hold a cup of this typé in the hand, a circumstance 
which gave the writer a clue to their nature. They are always made of the very 
finest material, ivory paste glass, mosaic glass or deep blue and emerald green glass. 
The earliest possessed a plain rim; the later ones, a bracelet—Fig. 48, 7, 7. 
SIX-SIDED BOWLS OR CUPS. A six-sided bowl of translucent emerald colored 
glass is known as the Sacro Catino, of Genoa—Fig. 48; Kisa: Formentafel G., 
Fig. 392. 
SIMPLUM. Satrificial cups made of pottery, metal or glass. Also referred to as 
‘‘Simpuvia’”’ by Juvenal, 3, 340. Probably identical with the circular lotus cups used 
in the sacrifices, like those held in the hands of the early Roman emperors in the act 
of libations, as depicted, on the statues and reliefs, in the hands of the sacrificers. 
wh words are “Simpinium” and “Simpurium, genus poculi quod et gobata dici- 
” The form is never described by ancient authors, but as they were used in the 
anes the above identification is probably correct. 


UPRIGHT VESSELS 


Drinking glasses of metal, pottery or glass possessed full opening, wider or nar- 
rower than the body. The glasses were cylindrical or tapered slightly upwards or 
downwards, without a stand but often furnished with a foot ring. The different 
types merge into each other. 


48 


MUGS AND MEASURES. (Modius.) Cylindrical vessels made to contain a defi- 
nite quantity of liquid, such as beer, wine, ale, milk, as sold in the shops and eating 
places. Always furnished with a handle. Drinking vessels of this form are seen in 
the Roman catacomb paintings, always depicted standing on the table. Wilpert’s 
interpretation of a mug with handles as a eucharistic chalice is doubtful. When 
used as a measure in Latin times it was called a “modius.”” _In modern times a mug 
containing about two quarts was called a “‘stoop.”—Fig. 49, a—c. 


PPO UUY 


Fig. 49. Measure and drinking cups.—1st, 4, —2d, c, d—2d to 3d, e—7th century 
Modes Paik: 


BOWL BEAKER. These are also called cups, when the vessel is very low and the 
height is that of an “ordinary” cup.—Fig. 49, d. 

TUMBLER. This is a cylindrical cup with base rounded, so that it does not stand 
up when out of the hand of the user. In use in Lombardian and Merovingian times, 
between the 7th and gth centuries A.D. The tumbler, beaker and goblet merge 
into each other so that no strict division can be drawn. Tumblers are represented on 
the walls of the Roman catacombs of the 2d, 3d and 4th centuries. Fig. 49, ¢, f. 
BEAKER. The trade name “beaker” is now applied to a cylindrcal vessel of glass 
used in laboratories. They always possess a narrow drawn beak or extended lip for 
pouring the liquid from one vessel into another. The word beaker is also applied to 
cups with stand, so that we have plain beakers and beakers with stems, just as we 
have plain goblets and goblets with stems. Ordinary beakers are without beak.— 
Fig. 50, a-}. 


UUUUUU eT 


Fig. 50. Beakers 3d to 4th, a—ist to 2d, d, c—3d, d, e—ist, f—6th, g—4th, 4—sth to 
7th, i—Arabic 9th to 13th century A.D., 7. 


GOBLET. A drinking cup often without stem, wide foot disk anda body widening 
upwards. The name comes from the Latin cupa, a cask, so that the original “little 
cask”’ must have been rounded or bulging about the center. Cupa in time became 
cupellus when used at the table, and finally a goblet. The original goblet had no 
stem. We must therefore distinguish between goblets and stem goblets, but with 
the clear understanding that the names are rarely properly applied, and often con- 
founded with the term Jeakers —Fig. 51, a—. 

STEM BEAKERS. Stemmed beakers have the form of plain beakers but are 
furnished with a stand or foot. The sides are cylindrical or funnel-shaped and in this 


49 


differ from the stem goblets which possess bulging sides. Mostly Arabic or possibly 
also Sassanian.—Fig. 52, a-d. 

STEM GOBLETS. Vases with the body of a goblet with outward bulging sides, 
furnished with a stem, stand and foot. Some were used as Christian chalices for 
religious purposes (Fig. 53, a-s), but which were so used can not be determined. 


(OW Ga 


Fig. 51. Goblet types—Medieval, a—2zd, —1st, c, d—2d, e—4th century A.D., f. 


CHALICES OF STEMMED-GOBLET FORM. The form of the body is trun- 
cate ovoid, with or without handles. The mouth part is either contracted or_con- 
tinued as the sides. The handles are medium sized, and never properly extend over 
the rim. The eucharistic nature of these objects is probable, but not certain. The 
type is also found in the Ist century Berthouville cup.—Fig. 54, a-e. 


i DAC 


Fig. 52. Stem beakers.—Late or medieval—modern, d. 


CARCHESIUM. A beaker-like vessel with bulging body, wide inwardly curving 
neck, a stem and foot. The contracted center should be narrower than the top and 
any other part of the body.—Fig. 55. 

CARCHESIUM GOBLET. Concaved cylindrical sides with a bowl-shaped lower 
part, often decorated with laurel and ivy leaves, figures, etc.; lower part often fluted. 


VW Se 
SY DAES 
WVWWy 


Fig. 53. Stem goblets.—I. Old types, mostly from Jewish coins, 3d to 2d B.C.—II. Holmos 
types, 1st A.D., 4, A—4th, /—5th, #—2d, 2.—III. Arabic and Venetian. 


59 


Type common in green glazed pottery, 2d century A.D.; rare in glass —Fig. 56, a, d. 
CRATER AND SCODELLA. The crater was a large mixing bowl with wide, bulg- 
ing body and an almost equally wide inwardly curved neck, the latter ending in a 
wide, funnel-shaped and spreading mouth. Handles, when present, are small, 
mostly attached to the shoulders in order to sustain a heavy weight. The name 
scodella was used for a soup bowl.—Fig. 57, a-i. 


O & & | 


Fig. 54. Chalice types, 1st A.D., a—3d century, 6, c—Arabic, d—4th to 5th A.D., e. 


CANTHARUS TYPES. The typical form is a vase, with stem and foot; handles 
which rise from near the base of the body proper and, after reaching above the level 
of the mouth, curve inwards and downwards to the lip. The body gradually tapers 
to the stem, but is sometimes slightly curved. Few such forms entirely of glass have 
been discovered. The cantharus was specially consecrated to Dionysus and Bac- 
chus, and is represented on their monuments. The Hermitage cup is in reality a 


LIP SBE 


Fig. 55. “e and Carchesium goblets——Ptolemaic, a—1st B.C., d—2d A.D., c—ist 
., d—2d A.D., e. 


carchesium goblet. Some of the Boscoreale cups, however, can be called canthari. 
—Fig. 58, a—c. 

SCYPHUS CUPS. A wide bowl cup with two ring handles near the upper 
margin, always protected above by a flat lip projection or thumb rest, and some- 


Eee 


Fig. 56. Pottery beakers—2d, a—6th A.D., 3. 


times furnished with a similar guard below the ring. They are common from the 
Ist century B.C. to the 1st A.D. in silver, glass, crystal and pottery. The delicate 
green glazed Syrian pottery cups of the 1st century A.D. belong to this series. The 
Varpelev cup and the Augustus and Tiberius cups of the Boscoreale treasures are 
all closely related. This form never occurs after the 1st century A.D.— Fig. 59, a—c. 


51 


SCYPHUS GOBLETS. Truncate ovoid cups with or without handles, wider than 
the ordinary goblets, often furnished with ring handles of the type found in the 


rouUUUe 
7 


Fig. 57. I. Craters and Scodella types—XVIIIth dynasty, 4, d—Augustan to end of Ist 
century A.D., ¢ to f.—II. all 1st A.D. 


Hildesheim, Boscoreale and Syrian green glazed cups of the Ist century B.C. to 
the 1st A.D. These are scyphi with high foot stands. Made of metal, pottery and 
glass.—Fig. 60. 


wp 


Fig. 58. Cantharus goblets with handles.—Pottery Ptolemaic, a—Augustan, b—3d to 4th 
A.D, ¢ 


ACETABULUM. A small urn or dish of uncertain form, for sauces and vinegar, 
in which meats and other viands were dipped. Also large salad mxinig bowls and 
salad dishes. Also a measure of one-eighth of a sextarius.—Fig. 61. 

DIPPERS, LADLES. (Kyathos.) Any vessel with a long free handle, used to dip 
out liquids from a crater or similar vessel. The handle was made long so that the 
hand of the servant might not come in contact with the liquid —Fig. 61, e, f. 
CALIX. A “cup” proper; the Greek, and especially the Athenian, drinking cup of 
the well-to-do. The body is wide with full opening and the handles are rather hori- 
zontal, in this differing from the handles of the cantharus, which are more or less 
upright.—Fig. 62, ac. 


52 


Plate 5. Core-wound amphorisks with handles, late Egyptian from the Ptolemies to the 


Augustan era. University of Pennsylvania Museum, a, 4, c; Mrs. W. H. Moore 
Collection, d.—See pages 122, 230. 


a3 


Plate. 6. Gold-glass bottom with Amor and Psyche in relief. About 1st century B.C. Nies- 
sen Collection See page 134. 


De 


JARS. Jars are deep vessels for storage of foods and therefore always used in con- 
nection with a cover. The name is revived in the Spanish jarro, a deep vessel for 


9900 0 0000000°)) 
ex YO Poon 
89000 0007 


Fig. 59. Scyphus goblets, Augustus to end of 1st A.D. 


storing as well as cooking, generally of pottery. The form was in use in prehis- 
toric Egyptian times. They are never furnished with a stand. 
JAR. Common jar with more or less full mouth opening; cylindric or bulging body; 


oe SY 


Fig. 60. Scyphus goblets.—Arretine pottery types, 2, 4—Glass, 2d to 3d, c, Edwards’ 


collection. 


flat base or with a foot-ring. There are many gradations in form and we might sug- 
gest names like bottle-jar, jar-flask, bowl-jar, etc.—Fig. 63, a. 
URN. Cinerary urns of glass. A bulging jar, made to contain the ashes of the dead. 


DUolyy 


Fig. 61. Acetabulum bowls for salads.—A dipper, Augustus to end of 1st A.D. 


The bulge is generally wider than the opening, which was always covered with a lid. 
The same general form persisted from the time of Augustus to the reign of Constan- 
tine. The variations have not yet been properly studied. Without stem and foot, 
but sometimes with handles.—Fig. 63, -d. 


been SF. 


Fig. 62. Calix cups, Augustan period. 


PRISMATIC CINERARY URN. Prismatic form. Ist century B.C. to 2d A.D. 
—Fig. 63, e-b. 
FUGS. Cylindrical or bulging vessels with large body, low neck and narrow neck 


57 


and mouth. Always with a small handle for lifting. The jugs were intended for tem- 
porary storage.—Fig. 64, a, d. 

DEMIFOHN. The demijohn is a jug intended to hold a certain quantity of liquid 
for transport and storage. It is generally protected by wicker work (Fig. 64, d@). It 
hardly ever possesses a handle. The contents vary from two to ten (or more) gal- 
lons. The neck is higher than that of the jug, but equally narrow. The demijohn, 
or damijan, was originally a wide,’ bulging vessel, sometimes compressed sideways. 


a@wS maine 


Fig. 63. Cinerary urns, storage urns, jars—rst A.D., a, c—2d A.D., d to h. 


The name has nothing to do with the word demi, meaning half. It can best be de- 
rived from the Spanish dama ‘fuana, meaning Lady Jeanne or Juana, the feminine 
of John. It took its name, so at least is the opinion of the writer, from its similarity 
in shape to the enormous dome-like, wide dress of the ladies in the time of Velasquez, 
when this word first appeared.—Fig. 64, c, d. 

LAGUNA, LAGONA, LAGONARIA. Ancient jug for wine placed before the guest 
at table. When of large size, used to contain partly fermented wine and beer. Also 
known as flasks (flaskion). Early Roman empire.—Fig. 64, a. 

STAMNIUM (STAMNIA). Cylindrical flasks of generally slender, never bulging 
body, with one or two handles between shoulder and lip rim, or ending on neck. 
Without base, base-ring or special foot and stand. Kisa dates the earliest from the 


Noa 


Fig. 64. Lagonas and demijohns.—1st century A.D., a—jug, 5a demijohn, c— 
later or modern demijohn jug, d—modern demijahu, ¢ : 


Ist century A.D. Those that are decorated either with serpent threads or ground-out 
patterns belong to the end of the 2d and the 3d centuries A.D., some having been 
found with Roman coins of the 3d century in Germany. Those with honeycomb 
cells and ovals seem to belong to the 3d century. The finest specimens of the latter 
are made of amber-colored glass with heavy walls. Those with honeycomb pattern 
were probably made in Syria, where some have been excavated, and thence im- 
ported to Germany.—Fig. 65, a-g. 


58 


BOTTLES 


The distinction between bottles and flasks is one of convenience only, without 
real traditional differences. The name is derived from the Spanish Joa, meaning a 
vessel in which wine was stored, or one carried in the saddle bags during travel, 
made of leather and pigskin. We now define bottles as vessels with ample body, 
narrow neck without handles, stem and foot-ring.—Fig. 66, a. 

BOTTLES. Ordinary bottles for storing liquids.—Fig. 66, a. 

PRISMATIC BOTTLES, Ancient bottles with four or six sides common in the 
early Roman empire.—Fig. 66, 4, c. 

FLAGONS. Bottles with long neck, bulging or spherical body with or without foot- 


WHanele 


Fig. 65. Stamnium or cylinder flasks.—Ist, 4, d—2d, e, m—3d century A.D., 7 to g. 


ring. Used for wine, like modern Chianti bottles, common also in antiquity.— 
Fig. 66, d, e. 

CARAFE. A bottle with downwards widening body, narrow neck, used at table 
service, but never for storing. Might with equal propriety be termed bottle and 
flask.—Fig. 66, f. 

MERCURY BOTTLES. Prismatic flasks, four sides, tall, slender neck, narrow 


\eaddOl 


Fig. 66. Bottle types, prismatic bottles, flagons, carafes, vials. 


oh) 


mouth, with a lettered bottom, or with the figure of the god Mercury on base or 
sides. Generally coarsely made. Mostly of the 2d century.—Figs. 65, 67, g, b. 

VIAL. As written, in modern use, a small tube bottle (or flask) used by the chemists 
as test tubes, etc. In the Roman empire era, they were used for unguents, perfume 


dou 


Fig. 67. Droppers; amuletic or Temple series, d—Processional, e¢, f—Mercury, g, h. 


or as tomb paraphernalia. Innumerable bottles of this type have come to us from 
Roman and Syrian tombs.—Fig. 66, 2. 


FLASKS 


Flasks are bottles made for some special purpose, such as for service at the table, 
for use when traveling, to fit the pocket, the knapsack and the bag, and so forth. 
But there exists no special characteristic whereby we may determine whether a 
vessel is a bottle or a flask, and sometimes a vessel is a bottle and a flask at the same 
time, as, for instance, the flagon and the Italian “fiasco.” Flasks are mostly fur- 
nished with handles, but are sometimes without. 

The following are the most common forms, but many others could be added and 
might even be differentiated by names. 

DROPPERS OR DROP FLASKS. Round or prismatic, characterized by a thin, 
slender neck with very narrow inner tube and a pinhole opening. Those of Arabic 
make are the most common in our collections —Fig.67,a, 6, Arabic, b. 


SESShha6 


Fig. 68. Ampulla or ball flasks—1st, a—2d, 6, c—3d, e, f—4th, g—6th century A.D., 4. 


AMULETIC PRISMATIC FLASKS. The earliest of the 1st century A.D. are 
six-sided and more or less distinctly cylindrical (Fig. 67, d-f). Those of the 4th 
century A.D. are distinctly prismatic with four or six sides, each containing an 
amuletic sacred symbol (Fig. 67, ¢). The “Mercury” flasks of the 2d century A.D., 
with four sides, come especially from German tombs (Fig. 67, 4). 


60 


BALL FLASKS, AMPULLA FLASKS. Small or medium-size bottles with rather 
long, slender neck and approachingly spherical body proper. Came into existence in 
the 1st century B.C. and continued during the next few centuries. The neck in the 
earliest types was contracted at the base and slightly widened at top. In later forms 
or varieties the pinched base of the neck disappeared, the upper part was greatly 
widened, the cylindrical neck was furnished with a collar rim, or the whole bottle 
was made of very heavy glass, and the top of the neck narrowed and squarely cut 
off without rim.—Fig. 68, ab. 


BO0U 


Fig. 69. Holmos and oil flasks—1st B.C., a—1st A.D., 5, c—2d, e, d—3d, f—2d, g—3d 
century A.D., 2. 


HOLMOS VASE. A Bacchic vase in connection with Bacchic altars (Daremberg 
et Saglio, Figs. 236 and 2424) carried in processions. The type is also represented on 
Sidonian glass bottles of the 1st century B.C. (Museo Borbonico, XII, Pl. XXI.)— 
Fig. 69, a. 

LEKYTHOS OR OIL FLASK. The name was adopted by Kisa for any classic 
flask supposedly used for oil. The oil flasks of glass differed very much from the | 
older ones made of pottery. Those of glass were made by free hand, and varied ~ 
greatly in form and size. The most practical flasks were those with cup-shaped 


Jam AK 


Fig. 70. Kotyliskos and Prochus flasks—2d century A.D., 4, f. 


mouth, the cup catching the drops as the bottle was raised after using. Some of the 
most common forms of the Ist and 2d centuries are seen above.—Fig. 69, 4-b. 
KOTYLISKOS. A toilet vase with slender neck, upright body, handle and very 
small, flat base. Many of the 2d century flasks seem to have been based on this 
type and on the “cenochoz,”’ the two being fused into one.—Fig. 70, a. 

PROCHUS FLASKS. The body is greatly widened towards the base. Neck and 
handle always present. Most common in the 2d century A.D.—Fig. 70, 3. 


61 


PITCHERS 


PITCHERS. Vessels for holding and serving liquids at the table, at the toilet, in 
the kitchen. Always a full opening, contracted neck, wide body, and one handle. 
Sometimes furnished with stopper, and a foot ring, but never with a stem or stand. 
PITCHER. For milk and water for table use. Body bulging, mouth full, pinched 
and drawn to a spout. One large handle.—Fig. 71, a—d. 

EWER. A pitcher with a funnel-sheped neck and full, wide mouth, destined to 


voVetGsh 


Fig. 71. Pitchers 1st, @ to c—4th, d—ewers 3d to 4th, e, f—Persian, g—cruet, 4th century 
A.D., 4. 


pour water for table use or for carrying water from the fountain to the table. On 
this account it had a wide, funnel-shaped neck and mouth. It was also used on the 
washstand in connection with the water basin, or in connection with a trulla, to 
pour water over the hands of the guests after each meal, during the early part of 
the Roman empire, while at the same time a trulla, or tray with handles, was 
placed below the hands to catch the drops. Also used in pagan rites—Fig. 71, e-g. 
CRUET. A small pitcher or water vessel, a diminutive of crue, a large pitcher. 


Fig. 72. Wine flasks ——Q£nochoe—8th B.C., a—2d, 4, c—purse vial, d. 


Used on the table to hold vinegar and oil. It had a pear-shaped body, spout mouth, 
and one handle. Often placed in a caster together with another cruet, one for oil and 
one for vinegar. The eucharistic cruet had this form already in the early Coptic 
church service, and innumerable minute cruets were (4th century A.D.) sus- 
pended on necklaces as amulets. The eucharistic cruets held wine, water and oil. 
According to legend, the two famous cruets of Joseph of Arimathea contained the 
blood and sweat of Christ, collected at the burial and descent from the Cross. They 
were always furnished with a foot ring, if we may judge by the remaining amuletic 
specimens, which resemble those actually found in Coptic churches.—Fig. 71, 4. 


62 


(ENOCHO OR WINE FLASKS. The Greek name for wine pitchers. Of no 
special form, but usually the body is wide, bulging; a low foot ring; a wide neck; one 
strong fenile: wide pinched or trefoil mouth. Common in glass of all Senate 
8th century B. C. to 2d century A.D.—Fig. 72, a-c. 

BOMBYLIOS. A water bottle, originally made of leather and used on travels. 
The oblong, purse-like body resembled the body of a moth (bombyx), hence the 
name.—Fig. 72, d. 

ASKOS OR PURSE FLASKS. Horizontally bent flasks in the form of a purse, 


aie 


Fig. 73. Askos flasks or bottles, 1st B.C. to 1st A.D.—common in Pompeii, Tripoli and 
Sardinia. 


with wide neck and rising basket handle. The neck is always at one side of the top, 
never in the center of the top. Generally of the 1st century. The form suggests a 
duck.—Fig. 73. 

AMPULLA POTORIA. Lenticular water vessels. [4pul. Flor. 19.] Sometimes 
called ampulla rubida, and then covered with leather to withstand rough use in 
traveling. Often tied to the hand or shoulder of the traveler. Ampullee also contained 
ointment for the dead body and were buried with the body in the tomb, which ex- 
plains the quantity of these vessels found there.—Fig. 74, a, d. 

ARYBALLOS OR HAND OIL BOTTLE. Globular bottles with wide, flat lip 


Sealer 


Fig. 74. Ampulla jars.—Aryballos jar, sprinkler, canteens, 1st century A.D., ¢, g, x. 


rim, very minute opening, one handle and a low neck; tied to the hand of one who 
annointed his body with oil previous to a contest. Common in Egypt, Greece and 
Italy. —Fig. 74, c. 

HAND SPRINKLERS. A common name given to globular bottles with bulging 
body and neck, and diaphragm between these two parts, for the purpose of regu- 
lating the flow of the oil. Used in the bath or in the gymnasium for anointing the 
body in the way of the aryballos, but without handle. The bulged neck and the 
wide lip prevented the bottle from slipping in the hand.—st to 3d century, A.D. 
—Fig. 74, d. 

63 


CANTEENS AND HAND FLASKS. Canteens and hand flasks are circular ves- 
sels suitable to carry while traveling. Their circular form increases their portability 
and prevents breakage. Some possess handles for straps or are furnished with wide 
mouth lips as guards against slipping from the hand. Some are flat and suitable for 
the pocket, others are rounded and spherical. The finest types date from the 1st and 
2d centuries A.D.—Fig. 74, e. 

CANTEENS. Canteens of leather, metal and pottery were used by the soldiers on 


(SO Chae 


Fig. 75. Ampulla bottles, common types Ist to 2d century A.D.—Pilgrim flasks, d to g. 


march or in camp in ancient as at the present time. They always possessed two 
small handles for straps which passed over the shoulder of the bearer, In Spain they 
are called Zotas, the origin of “bottle.” —Fig. 74, f. 

POCKET CANTEENS OR PILGRIMS’ FLASKS. These differ only from the 
large canteens by their size, which were suitable to be carried in a pocket or in the 
hand during the bath, or when anointing the body in the gymnasium. Neck is 
low, body flattened, two minute handles near the neck for straps passing over the 
wrist.—Fig. 74, g. 

AMPULLA, ORDINARY TYPES. Small to medium size bottles with more or 
less globular body, low neck and generally two handles for straps. Held oil and 
used in the bath.—Fig. 75. 


Fig. 76. Pointed Amphora jars.—Thracian—Onidian—Rhodian—Roman—Oil Amphora 
—8th century B.C., f—Christian amulet, 4th century A.D., g. 


AMPHORA. The original amphora was of pottery, and its name indicated that 
the vessel was made for carrying water, or, according to others, that it had two 
handles, one on each side. The word is composed of two units, one meaning “around” 
and the other “‘to carry.” 

The glass amphore are miniature vessels as compared to the gigantic sizes of 
those made of pottery. The base is either pointed and requires a tripod for support, 
or the base is flat, like the Portland vase, which is often included in the amphora 


64 


Plate 7. Pad-glass cups about 2d to Ist century B.C. Syria. Mrs. W. H. Moore Collection, 
a; Metropolitan Museum, d—e.—See page 134. 


ay 


Plate 8. Moulded and ground pad-glass cups Ist century B.C. to 1st century A.D. Metro- 
politan Museum, 4; Mrs. W. H. Moore Collection, 4, c; Fahim Kouchakji Col- 
lection, d. Syrian.—See page 151. 


67 


% 


Plate 9. Cinerary Ash Urns. The four standard types, common and widely distributed, 
Ist century A.D. Metropolitan Museum.—See page 152. 


69 


Plate 10. The Olbia pad-glass vase, 0.790 m. high, Ist century B.C. Berlin, Neues Mu- 
seum, from the Nikolajef Collection. Found at Olbia.—See page 152. 


71 


Plate 11. Cinerary pad-glass urn, with stratified glass strips fused in the matrix. Metro- 
politan Museum. Found in the north of Italy. 1st century B.C. to Ist century 
A.D Sze page 153. 


73 


Plate 12. Pad-glass with enameled painted scenes on olive-green matrix. Probably Alexan- 
drian, Augustan era, believed to have been found in Syria. Made of cut and 


ground tubes. Mrs. W. H. Moore Collection.—See page 153. 
75 


Plate 13. Pad-glass craters. Syrio-Roman types, Ist century B.C. to 1st century A.D., per- 
sisted in the early part of 2d century A.D.—Sce page 154. 


77 


Plate 14. Pad-glass urns of blue glass with gutta drops. Syria. 1st century B. C. to 1st cen- 
tury A.D. Mrs. W. H. Moore Collection, a.—See page 154. 


why 


type. The large pottery amphore with pointed base could stand erect by themselves 
if pushed down in a bed of soft sand, and were then used for storing liquids. When a 
tripod was used, the vase was probably made of porous clay and used as a filter and 
cooler for drinking-water, in the manner we find it used in Greece, Italy, Spain and 
all Latin-American countries. The amphore of ancient times possessed beauty 
and elegance and on that account are best known of all classic vessels —Fig. 76, a-e. 
AMPHORISKS. This name is applied by Kisa and others to minor vases with 
two handles recalling the larger and better formed amphora. The earliest glass 
amphorisks appeared about the gth to 8th century B.C. and were much in use 
as toilet vessels made by the core technic.—Fig. 76. 

ALABASTRONS. Small vessels made of alabaster or similar semi-translucent min- 
eral, first made in Egypt. Cylindrical, widening towards the base, which is rounded, 
with or without minute ear-handles. Some apply the name incorrectly to Egyptian 
columnar unguent bottles and balsam flasks.—Fig. 77, a-c. 

BALSAMARIA OR BALSAM VIALS. Any small vase of whatsoever form des- 
tined to the use of balsams, unguents, perfumes, used from the time of the XVIIIth 
dynasty to medieval times. They were always made of heavy glass.—Fig. 77, a—b. 


Fig. 77. Alabastrons, balsam vials, columnar and ritual vials—w,th B.C., a, 2—XVIIIth 
dynasty and later, c, d, e—4th century A.D., f, 4. 


COLUMNAR OIL FLASKS. These interesting flasks appear in 4th century 
tombs, and are often found with inner bronze rod or spatula. They connect directly 
with the Egyptian flasks of the same general form, but with lotus capital (Fig.76,d). 
The body is twisted in the form of the two columns brought from Jerusalem, and 
now in the Basilica of St. Peter’s in Rome, believed to have stood in the house of 
Pilate. The 4th century vessels were probably copied from these columns, their 
use probably being ritual—Fig. 77, d, g, b. 

RITUAL CUPS. (Also “mystic vases.”’) A well defined group of amphora type with 
wide mouth, two (or without) handles, pointed base, and low, wide, twisted and 
ridged body, or body decorated with waves. All seem to belong to the 4th and 
sth centuries A.D. They are without doubt of amuletic use, possessing the same 
form as the Coptic eucharistic representations of vases placed on columns on each 
side of which a dove isseen partaking of the contents, which can only be the eucharis- 
tic blood or Water of Life. A few have the form of amphorisks. Always made of very 
thick, heavy opaque glass, smooth or deeply creased. Christian, symbolic “mystic 
vases. —Fig. 78. 


81 


MINOR OBJECTS OF GLASS 


FINGER RINGS OF GLASS. Finger rings of glass were known to the Greeks 
and were called “sphragides hyalinai.” They became quite common in the Roman 
empire period and were made either in one piece of the same glass or the frame was 
of one quality of greenish glass and the inset of one of different color, generally blue. 
The inset was either in intaglio, sunk or in relief. The number of glass intaglios 
found is very great. Castellani related to the writer that several thousand were 
found in a pot on Monte Mario in Rome, but most of them were so corroded as to 
be considered of no commercial value. The reliefs were generally copies of similar 
ones in hard stone, but not all on the market sold to collectors are ancient. Imita- 
tions were made by the Venetians and are made to-day, and sold as genuine and 
antique. If such “stones” possess patina and the odor of earth they are probably 
ancient and well worth studying. If, on the contrary, they are glossy and lack 
the earthy odor, they should be studied for genuineness.—Fig. 79. 


/ 


LT 


NV 


Fig. 78. Mystic jar—th century A.D. Fig. 79. Finger ring of glass—2d century 
A.D.—Collection of Mrs. W. H. 
Moore. 


GLASS BEADS 


GLASS BEADS. The glass beads can here only be referred to by name, as a fuller 
description would occupy ten times as much space as that on glass vessels. Glass 
beads of opaque matrix began to be made in quantity during the XVIII th dynasty in 
Egypt, but according to dated collections in the Metropolitan Museum, small glass 
beads were made already during the XIth dynasty. The most perfect and beauti- 
ful beads were made in the time of Thotmes, Amenhotep and Rameses the Great. 
During the 5th century B.C. the most brilliant and showy beads were made. 
Mosaic beads appeared in the time of Augustus and continued with ever varied 
form, size and color to our present day. Beads with decorations of twisted rods, 
and large ring beads appeared in the 2d century A.D. The art degenerated in the 
4th century, but revived in the 5th and reached a certain brilliancy, with brick red, 
lemon yellow and deep orange, and emerald opaque green in the 7th to 8th centuries. 
After that time a new deterioration set in and during the gth to 12th centuries 
beads without beauty and skill are found in the tombs. The art was revived by 
the Venetians, whose only beautiful beads were the star beads, which in striking 
effect surpassed most beads made during the Roman empire. Since four hundred 
years past the beads have been inferior in beauty, with inharmonious colors. An ex- 


82 


7 ae 


ception must be made for old Japanese beads, how old cannot be determined, which 
are highly interesting and worthy of our study and admiration. 

MELON AND LOTUS BEADS. The most important, certainly the most inter- 
esting, beads made of glass and pottery in antiquity are those known as melon 
beads, though they should with more propriety be called lotus beads. They are 
ribbed and possess the same form as a cantaloupe melon. In another place the 


HN B 
2S 


Fig. 80. Amuletic bead coverings of the Omphalos at Delphi, as portrayed on the original as 
well as on reproductions on painted vases. The last three beads, part of a string 
portrayed on animals led to the sacrifice. Believed to keep off the evil eye. 


author has already shown that they were originally, that is in the XVII Ith dynasty, 
derived from the lotus bud, the idea and symbolism perhaps going back to pre- 
historic times. A lotus bud in the form of a bead is in the Metropolitan Museum, 
dated to prehistoric Egyptian times and it seems probable that this early type con- 
nected with the later one in the time of Amenhotep. 

Having been derived from the sacred lotus flower, the beads were themselves 
sacred, and it is thus that we find them in early Italian tombs of the 8th century 
B.C., continued to the 7th century A.D. as tomb relics, derived from older tombs. 
The early beads of this type had a pin-hole bore, but in the 8th century the bore 
became very or abnormally wide. The fact that handfuls of such melon beads were 
scattered in the tombs, from the 8th century to later, suggested to the author 
that they were sacred and it was they, the lotus buds from the lotus lily, that gave 
origin to the habit described so touchingly by Virgil of scattering lilies over the 
tombs of the beloved dead. “‘Date manibus lilia plenis,” he wrote at the appearance 
of the shade of the nephew of Augustus—“‘Scatter lilies with full hands.” This sug- 
gested that the lilies and the lily lotus beads were talismanic and were scattered 
over the tombs in order to keep the shades from rising. This was confirmed by a 
study of the various representations of the Greek omphalos at Delphi, which are 
often shown covered with a network of melon or lotus beads strung on the mesh 
threads. The net of melon beads or lotus beads must have been thrown over the 
omphalos, the tomb of Python, to keep that demon from rising. It had been slain 
or confined by Apollo, a theme fully developed and proven by Harrison in Themis. 
But until now the peculiar covering of the tomb has never been explained. 


83 


The amuletic form of the lotus bead is resurrected in the sacred loaves which in 
ancient times decorated the animals that were to be sacrificed at festivals on the 
altar. All ancient representations show these loaves to have the form of gigantic 
lotus beads, as, for instance, those on the Anaglypha Trajani in the Forum in 
Rome. The form of these bead-loaves was spherical or oval. Sometimes the length 
was several times that of the width —Fig. 80. 


APPROXIMATE CHRONOLOGY OF BEADS 


2000 B.C. Earliest Egyptian, IXth dynasty, glass beads; tubes; cuffs. 

roo B.C. Earliest Egyptian glass amulets. 

1500 B.C. Lotus beads with narrow bore; tubes with swollen ends; disks; at first 
eyespots of impressed rings, later of stratified layers; end caps. 

7200 B.C. Fluted turbinate beads; perfect, minute ring beads; beads from rods 
and threads twisted over a wire or bronze rod. 

‘1000 B.C. Horizontally creased lotus beads; turbinate beads; halved beads. 
goo-Soo B.C. Earliest uncolored, transparent glass beads; coarse rings; roughly 
four-cornered beads with knob ends; dull blue cuffs with white eyes. 

S00 B.C.-7oo B.C. Tricornered flattened beads; amuletic lotus beads scattered 
broadcast in the tombs. 

700 B.C.-600 B.C. Compressed turbinate beads; large cylinders with cut-off or 
tapering ends, dragged patterns; cuffs with white waves; earliest rolled-in drops 
and granulations. Plain button beads. 

600 B.C.-goo B.C. The most brilliant bead period of antiquity, in Italian and 
Etruscan tombs: fig beads; spheres of dull orange with blue and white eyes; caput 
beads, cuffs with faces, Pan, fetishes, sheep heads; portrait faces, priests heads; 
beads with superposed knobs. 

goo B.C.—300 B.C. Tubular beads with tapering ends, dragged patterns, deco- 
rated button beads, begun in the previous century, continue; large beads with super- 
posed knobs; ring beads, four- and three-cornered beads with threads wound around 
the corners. 

300 B.C.—roo B.C. Earliest gold-glass beads, lotus types, cuffs, tubes. 

z00 B.C.-1 A.D. Mosaic glass beads; stratified glass beads; empress beads; ver- 
milion matrix, cut-off rod eyes replace the stratified ones. Imitations of crystals; 
double pyramids. 

zoo 4.D.-—300 A.D. Twisted rods as bead decoration; large ring beads with cross- 
ing lines; beads with yellow end caps. 

300-500. 4.D. Black predominates; beads increase in size; cubic forms; amulet- 
ing vessel beads as pendants. Turquoise blue appears. 

500 4.D.-7oo A.D. Merovingian, Lombard, Saxon, Hungarian, Fayum beads. 
Venetian red predominates; turquoise blue; orange; perfect dragged technic; single 
and crossing waves, links. 

1500 A.D. Venetian star-beads invented. 


84 


ss 


PART II. DATES: SYSTEMS OF SYMMETRY: 
~ CHRONOLOGICAL PERIODS 


DETERMINATION OF THE DATES 


HE date of glass vessels is determined in various ways—by the material, 

by the form and by the design or decorations. It can also, but with less 

certainty, be determined by the known date of objects found in the same 

tomb as the glass. And vice versa, the date of the contents of the tomb can 
be determined by the glass vessels or by the beads. Coins and fibulas, or safety pins, 
when found in a tomb, are valuable for determining the date, because they are 
fairly well dated themselves. But coins were often hoarded, sometimes even for 
generations, so it is quite possible that they may be a century or so older than the 
rest of the tomb. The matrix of glass vessels and beads is often of great value in 
dating, because it underwent a steady improvement or a degeneration from century 
to century. The earlier glass contained bubbles of air; the later glass was free from 
such bubbles. The color and transparency of the glass is also of importance in judg- 
ing the date, certain colors or tints having been introduced at different times. For 
instance, clear uncolored glass appeared first in the 8th century B.C. and was lost 
in the 5th A.D. Orange as a color was introduced in the 5th A.D. Debased deep 
brown glass was never used in vessels until the latter part of the 4th A.D., and the 
first pure, uncolored glass after that time was invented by the Arabs. 

Decorations are of great importance in determining the date, because every age 
had its own taste, its own pattern, its own technic, and its own ideas of beauty. 
A beautifully designed and well proportioned figure or face must have been made 
before the art deteriorated after the death of Nero, for after that time military 
leaders and their wives alone set the fashion of taste and beauty. Religion too had a 
great influence upon the taste and the design, beauty being of utmost importance 
among the Greeks and the Romans so long as they were pagan. But when they 
became Christian, sadness, piety, and suffering were the main factors to stimulate 
art. At this time too, symbols and emblems superseded representations of deities 
and stamped their characteristics upon the artistic objects of the time. 

The form of the vessels is of the greatest importance and aid in determining their 
date, even at times when older art forms were being revived, reintroduced and 
imitated. Such imitation was never accurate, for new ideas and uses had to be 


85 


satisfied, and old forms had to be reproduced in new material and with new technic. 
This permits us to determine the date of these objects with considerable, and often 
with absolute, certainty. An aid in recognizing the form of a vase and its date is 
often found in the exact proportions with which the vase was designed and made. 
The most important proportions are those derived from the use of the Dynamic 
Symmetry rediscovered by Hambidge. Its major use in glass was discontinued in 
the 1st century A.D., but all the combinations of the system did not disappear 
simultaneously, the root-3 system remaining longer than the other combinations. 
Together with the consideration of the general form came the forms of certain 
details, such as handles, mouth, lip, foot stand, each taking its own characteristic 
shape from the taste and usage of the period. 

A great aid in determining the date is derived from a comparison with pottery 
vessels of the same period. Their form always goes hand in hand with that of the 
glass vessels, the latter being inspired by the former as well as by the metal vessels 
of the same period. But while the glass-makers must have known their contem- 
porary vessels of metal and pottery, they could have had no idea of the appearance 
of very much older vessels or art objects. In the time of the ancients, public 
museums were unknown and even private collections could not have included any- 
thing but large objects such as statuary, paintings and some precious gold or silver 
object handed down in the family. Any actual study of the minor arts was reserved 
for our own time. 


GEOMETRIC SYSTEMS OF SYMMETRY 


Since very early Egyptian times the artists who designed reliefs and paintings, and 
the architects who designed structures, made use of certain geometrical figures in 
order to facilitate their work. The earliest geometrical figure used seems to have 
been the square. Later a rectangle was used. This rectangle was either drawn at 
random or according to a certain geometric principle. Others used the triangle and 
the circle as units to confine form. All the most careful and successful artisans and 
artists of all ages and of all countries have made use of some such geometrical means 
to insure regularity of symmetry in their designs. The manner of their use differed, 
but up to the present time no one has been sufficiently interested in this subject to 
consider and study these many systems impartially and without bias. In fact the 
subject has received such scanty attention that even now the opinion is prevalent 
that all such geometrical aids were used to facilitate enlargement, which opinion is 
erroneous. Until Jay Hambidge’s recent announcement of his discovery of the 
Dynamic Symmetry, this subject had been so neglected that most students of art 
and architects had forgotten that some such system had ever been in use. As with 
everything new, the Hambidge announcement aroused tremendous opposition, 
seemingly because it introduced into art a new element, and too because it was 
presented with such a wealth of mathematical detail that it was most difficult to 
understand and to master by those not mathematically inclined. Considered as an 
entirely new system, the Hambidge rediscovery was most startling and would 


86 


admit of much controversy. But considered as but the development of an early 
simple system, all criticism at once falls flat. For there is incontrovertible proof 
that a simpler system did exist, as it still does. This all can realize for themselves 
by simply viewing some of the old Egyptian reliefs in our public museums. The 
rediscovery of the more intricate system by Hambidge shows but the further de- 
velopment of the application of geometrical figures in composition. 

With the above points fully in mind we must at once realize that simplicity of 
design has existed since art began and while from time to time it fell into misuse or 
neglect, it was always resurrected and, at the same time, made to follow certain sane 
rules, so as to please a logical, orderly and calm mind. This subjection to rule was 
perhaps first evident in the restraint of the outline of the whole, its boundaries being 
confined within certain limits, such as a square, a rectangle, a circle or some such 
orderly form. The next step was to cause the interior nodes of the design to con- 
form in some definite manner to the form of the outlines, the result and effect being 
to produce a pleasing balance. Through such planned conception a better realiza- 
tion of the design can be had at a glance, and any one viewing it does not need to 
wonder what it all means and stray with his eyes over the entire surface in order to 
seize upon the salient point as is so often necessary with so much of modern art. 
The unrestrained design may be likened to melody with discordant notes, while the 
static system, soon to be more fully described, recalls melody based upon a simple 
but harmonious scale, and the dynamic system reveals its perfection in the same 
manner as does a musical composition created according to the rules of counterpoint. 

For a better understanding of this subject we can classify its steps of develop- 
ment in the following simple manner: 

ASYMMETRIC DESIGNS. Made with free hand without even a thought of the 
possibility of geometric aid, or even with the definite intention of being as irregular 
as possible. The asymmetric design has always been in use. 

THE STATIC SYSTEM OF SYMMETRY. Based upon the even divisions and 
additions of a square, two squares, one and a half square, or a square and a fourth of 
a square, produced by equal divisions of the side of a square. The static system has 
always been in use since man, emerging from savagery, conceived the simplest and 
most perfect geometric form—the square. 

THE DYNAMIC OR GR4ICO-EGYPTIAN SYSTEM. Based on the use of one 
side of the square and the diameter of the same square, or upon the diameter of 
half the square. This system grew out of a further development of orderliness in 
thinking, resulting in a higher and purer harmony. Discovered during the early 
Egyptian dynasties and developed by the Greeks, it was discontinued about the end 
of the Ist century, both because of conditions antagonistic to further art develop- 
ment and because of decreased appreciation of all art, having reached its zenith at 
the time of Polycletus. 

THE GEOMETRIC ACCUMULATIVE SYSTEM. The use of geometric figures 
and areas in the construction of architectural creations as well as in sculpture and 
painting must have begun with the regeneration of architecture after Constantine, 


87 


and reached its perfection during the Gothic period and the Renaissance. In this 
system, squares, triangles, pentagons, hexagons and other geometric figures were 
accumulated into a design, or plan, probably at first for the ground plan of an 
edifice, such as a temple or church. 

The various systems and attempts at systems, invented by the Chinese, the 
Hindus, the Gothic architects and the Renaissance painters and sculptors must be 
held accounted for in this general system, at least temporarily until they have been 
more thoroughly analyzed. 


DEFINITIVE CHARACTERISTICS OF THE THREE METHODS 


ASYMMETRIC DESIGNS. The asymmetric designs are those which are drawn 
by free hand without the aid of geometric and mathematical principles. In this 
method the artist generally tried to follow nature, or in the case of pottery, glass and 
similar art objects, his own taste. This method has always been in use, even by the 
greatest artists, and lately the claim has been put forth that it constitutes the only 
principle worthy of being followed, for any geometrical method would inevitably 
“hamper the development of the genius of the artist,” and hence make his work 
non-artistic. It is of course entirely wrong to call this lack of system “‘the static 
system,” as has lately been done. In this system “common,” or so-called “exact,” 
regularity is banned. The great majority of art works, especially sculptures and 
paintings are asymmetrically designed. 

THE STATIC SYSTEM. The method of using the square, divisions of a square, 
or equilateral rectangles and circles, as basis for a certain harmony in design, is now 
generally referred to by students of the dynamic system as the “Static System of 
Symmetry.” It is considered by them inferior to the latter system and hence value- 
less and unworthy of consideration. This is wrong. The static system was in use long 
before the dynamic system came in general use and it is yet. Both systems are based 
upon the square, the square in the static system divided in half, in thirds, and so 
forth according to the fancy of the artist. The static system was employed during 
the 1st century B.C. and in the 1st century A.D. by the moulders of glass and 
makers of pottery, and has been more or less used since. But the static system is 
inferior to the dynamic system, because a rectangle consisting of a square plus half 
a square can not be so subdivided that its component parts have the same form and 
proportion as the whole area. The hexagon and the circle are also part of the static 
system. . 

How the static system was used will be described later. Here we will only point 
out that one type of rectangle of the static system was constructed by adding half a 
square toa square. Such an area is divisible in three equal parts,but neither possesses 
the same form and proportion as the whole. Or one can add a square to a square, 
and the resulting rectangle can be divided in two squares, but the whole area 
possesses neither the same form nor the proportion of the original area. 

Another defect of the static system is that except in one type of rectangles, the 


88 


Piate II. Urn or BLuE Gtass wiIrH ENAMEL DeEcoraTIons. AUGUSTAN ERA. 
Mrs. W. H. Moore CoLtEcTION. SEE PAGE 154. 


Plate 15. Scyphus cups, Augustan era. The Varpelev cup, silver over glass, 4; Metropolitan 
Museum, 4; Louvre, c. First half of the 1st century A.D.—See pages 44, 154. 


gI 


Plate 16. The Portland cameo vase, British Museum. Ist century B.C. to Ist century A.D. 
Photographs by R. B. Fleming, London.—See page 156. 


o3 


‘+ 
‘ 
‘ *; 
, 
; 
‘ 
he, 
: 7 
a 
Wah oP 
“ 
= 
, 


division is not produced by drawing a line from an angle perpendicularly against the 
diagonal. Such a line if prolonged will never divide the whole either in equal parts 
nor in parts of the same form and proportions as the whole. Nor can a logarithmic 
spiral curve be produced from, or by means of, any rectangle in the static system, 
except from that which is composed of two and four squares in a row, two squares 
in a row corresponding exactly to a root-4 rectangle in the dynamic system. 


HOW TO CONSTRUCT RECTANGLES OF THE STATIC SYSTEM. First 
make a square, then add to this square a half square of the same size and propor- 
tions as one half of the original square. This gives a rectangular area of a square and 
a half. Or add two squares, three squares or four squares in a row. In this manner 
we can construct innumerable rectangular areas composed of and divisible into half 
or whole squares but, as already stated, the divisions will not be equal to the whole 
in form and proportion. 

A square area composed, let us say, of sixteen minor squares, will give us, if 
divided by diagonals each way, a great number of points which can be used as 
guides for the construction of vessels, designs and architecture. If the object is to be 
rectangular, add more squares or half squares. Regular curves can be made in sucha 
diagram by connecting a center of one square with the corner of another square and 
so forth. The use of such a diagram is practically endless, but the result is not quite 
as pleasing as if the areas of the dynamic system were used. 

The diagram of a vase based upon this system will show in what manner the 

system is useful.—Figs. 81, 87, go. 
THE DYNAMIC SYSTEM OF SYMMETRY. Areas when divided by means 
of a diagonal and a perpendicular against this diagonal, produce divisions or areas, 
each of which possesses the same form and the same proportions as the whole. While 
an unlimited number of rectangles might be constructed, the main rectangles of the 
dynamic system of symmetry are but five in number: the whirling-square rec- 
tangle, the root-2 rectangle, the root-3 rectangle, the root-4 rectangle and the root-5 
rectangle, each of which possesses the quality mentioned above, which quality 
is not found in other rectangles, whether of the asymmetric, the static or the dy- 
namic systems. 

As we possess positive proof that each of the three systems was in use in ancient 
times, the discussions by opponents to the Hambidge theory need not be considered 
here. Their opposition would never have been put forth if Hambidge had from the 
first emphasized the fact that the ancients also used other systems, and that the 
dynamic system is but a development of the static, just as the static is a develop- 
ment of the asymmetric. 

The dynamic system was used in Egypt since the IVth dynasty, being, according 
to Hambidge, confined to sacred objects. The Greeks, however, who derived their 
knowledge of the system from Egypt, applied it to all artistic objects. At that, 
they did not entirely discard the two earlier inferior systems, which-continued to be 
used by some artists who either had no knowledge of the dynamic system or who did 
not understand the benefits of its use. Unlike the static system, the dynamic is not 


95 


conspicuously regular. It is only harmonious. This harmony is subtle and of an 
entirely different kind, for instance, from that which demands that doors and win- 
dows in the front of a house be placed at the same exact measured distances of a 
meter or multiples of a meter or a foot. 

CONSTRUCTION OF DYNAMIC RECTANGLES. The basis of the system is, 
as we have said, a square; but instead of forming a rectangle of larger size by adding 
to the square a quarter, a half of a square, or another square, we erect the rectangle 


|_| IP LAN LAN 


Fig. 81. Development of diagrams of the Static system based on a square and fractions of 
squares—a square—a square and a quarter—a square and a half—two squares, 


by using the diagonal of the square as base, or, in other words, we continue or extend 
the base of the square until it is equal in length to the diameter of the square. The 
resulting area is known as a root-2 rectangle, because it naturally divides itself, by 
means of a diagonal and a perpendicular against this diagonal, in two halves, each of 
which possesses the same exact form and proportions as the original rectangle. It is 
the only rectangle which when divided into two halves, possesses the same form as 
these halves.—Fig. 82. 


Fig. 82. Dynamic system.—Development of the diagram of a root-2 pee square— 
the root-2 rectangle—division of the rectangle in two parts—root-2 rectangle in- 
scribed in a square. 


Ifa longer rectangle is required,we make use of the diagonal of a root-2 rectangle. 
In other words, we continue the base of a root-2 rectangle until it is as long as the 
diagonal of that root-2 rectangle. Then we raise a rectangle upon this whole base, 
keeping the side of the original square, which is also that of the side of the original 


Fig. 83. Dynamic system.—The root-3 rectangle and its development from the square— 
from the root-2—its division in three equal parts—root-3 inscribed in a square. 


96 


root-2, as side of the new area which is a root-3 rectangle. This root-3 can be 
divided in three equal parts, each of which possesses the same form as the whole 
root-3. No other rectangle will possess that quality. The same process will produce a 
root-4 rectangle from a root-3,and a root-5 from a root-4, and so ad infinitum. But if 
a longer area than a root-s is needed, it is best to add another root-s5, or we can add 
a square. There are many other combinations of dynamic rectangular areas possible, 
but as these were not used at a time when glass was moulded, their consideration is 
not within the scope of this essay.—Figs. 83-85. 


a | 


Fig. 84. Dynamic system.—Development of a root-4 rectangle from two squares—logical 
diagram. 


Fig. 85. Dynamic system, the development of the root-5 rectangle—Square—two squares 
—two squares with diagonal—diagram of root-5 rectangle. 


Fig. 86. Dynamic system. Development of the whirling-square rectangle from a square. 


Y 


Ly 


Es! 
~ 


AC 


$s 


SX 
N 
SON 
N 


T7 
KA 
Fig. 87. Static system, diagram of the con- Fig. 88. Dynamic system, root-5 rectangle. 
struction of capital of Egyptian —Diagram for construction of a 
column, XXVIth dynasty.—Metro- Sidonian sacrificial patella cup, Ist 
politan Museum, ancient design on century B.C. 
marble. 


ay 


THE WHIRLING-SQUARE RECTANGLE is produced from a square, by using 
the diagonal of half the square extended from the center of the base of the square 
until the whole line is as long as half the base plus the diagonal of half the square. 
The new base is longer than the root-2 base but shorter than the root-3 base. Thename 


1\ 


DEA 


Fig. 89. Static system.—Diagram of a pa- Fig. go. Static diagram, oil flask based on 


tella sacrificial cup, 2d century one square plus 4% of a square.— 
A.D., based on two squares, 1st A.D., from Pompeii. 


L we 
A OK 


IN 


LAN SUA 
TALC 
Aull 


a 


ey) PKK 
oa) ati 
BAN) ZRWUZA 


Fig. 91. Dynamic diagram of four Sidonian flasks, 1st century B.C., based on the whirling- 
square rectangle, and on a root-2 rectangle. 


WS 


is derived from the fact that the logical division is not in halves or thirds, or fourths 
or fifths, but in a square plus a whirling-square rectangle. By repeating the divisions 
in the same manner, a spiral of squares is produced, each succeeding one smaller than 
the first. The resultant division ad infinitum gives a better idea of infinity than any 
other visual demonstration known. The finest Sidonian moulded vessels of the 1st 
century B.C. are based upon whirling-square areas.—Figs. 86, 91, 93. 


98 


te ! 2 


Fig. 93. Dynamic system, whirling-square 
rectangles.—Augustan era, Ist century B.C. 


na 


iN 
Fig. 96. Static system, two squares, 2d cen- 


i 


DEN 
tury A.D.—Lotus cup. 


Fig. 92. Dynamic system, root-3 rectangle, 
last part of 1st century A.D.—Syrian oil flask. 


Fig. 95. Moulded Syrian vase, 

2d century A.D., with little 

correspondence between details 

and the two upright root-3 rec- 
tangles. 


Fig. 94. es: system, Syrian V atin of Ist 
century B.C. to 1st A.D., a root-3 rectangle, with 
perfect agreement between vase and diagram. 


99 


MANNER OF USING THE DYNAMIC SYSTEM IN ARTISTIC CREA- 
TIONS. In using the dynamic system we first construct one of its rectangles, we 
will say a root-3, and divide it by producing a diagonal from each side. Against this 
diagonal we draw two perpendiculars or lines at right angles with it, and continue 
the lines until they reach the sides of the rectangle. By drawing perpendiculars from 
these points we divide the whole in three equal parts, each part being a root-3,andso 
on as far as we care to continue. The crossings of these lines can be used as guiding 
points in the construction of a vase, a decoration, or any other object. The result is 
that the details of the vessel, its corners, its decorations, its minute details, will all 


Fig. 97. Two root-3 rectangles.—Sidonian, patera or lotus cup, 1st century A. D. Perfect 
correspondence of line and diagram. 


possess a certain harmonious relationship to each other and to the whole area, which 
can not be brought about by thumb rule. Another benefit, which must be clear and 
comprehensible to anyone who is not naturally (like the futurist) opposed to order 
and harmony, is that a series of vases, or decorations of vases, of the same exact 
form and proportions, can be constructed of different sizes by simply using different 
sizes of the same root rectangle. This can be done without the use of a single 
numeral. 

An easy manner in which such areas might be used to advantage, is to produce 
diagonals and perpendiculars to the extent that at least two or three sizes or series of 
rectangles are created inside the original. By this manner a diagram with many 
crossings is created, each crossing being used as the point for a certain line or a 
certain decoration, as is best illustrated by viewing the diagrams appended. 

For instance, if we wish to place a decoration of any kind in the center of, or in 
any other part of an area, or a vase, it will look harmonious if it possesses the same 
proportions as the whole. 

HOW TO ANALYZE A MOULDED GLASS VESSEL. In order to determine 
whether or not a vessel of glass or any other material is based upon any certain 
system of symmetry, we must first analyze the vessel. We begin by measuring the 
height and width of the vessel with as great accuracy as possible and then construct 
an accurate outline drawing of the vessel in natural size or in absolute proportions if 
enlarged or diminished. The next step is to draw a horizontal line for the base, as 
wide as the greatest width, and another parallel line along the top. Next two per- 
pendicular lines, one for each side. These lines, which should join and cross at 


100 


absolutely right angles, should form a rectangle in which each side acts as a tangent 
to the furthest projecting point of the top, the base and each side. The drawing of 
the vessel is then seen to have been enclosed in a rectangle as a frame for a picture. 
An error of one or two millimeters is often sufficient to confuse the analysis, so great 
accuracy is necessary. 


From this point of the analysis we can proceed according to two different methods. 
One, the simpler for beginners, is to ascertain by means of a pair of compasses if 
this rectangle created is based upon any of the root rectangles already described, or 
upon a square or even fraction of a square. If based upon a square the artist made 
use of the static system; if a root rectangle, he may have based it upon the dynamic 
system. But unless we can also ascertain that the details of the vessel, such as its 
minor and inner outlines, its main decorations, etc., agree with the inner diagram of 
the dynamic system, we have no proofs that the vessel is actually based upon that 
system. The mere fact that the outer rectangle is a root rectangle proves little or 
nothing, as this coincidence might be accidental. This fact has been made use of by 
critics and others who claim that they can construct a dynamic rectangle around 
any object, a circumstance—by no means exactly put—which they make use of in 
their efforts to demonstrate to others, who know nothing of the subject, that the 
dynamic system is non-existent and fallacious. The deciding point is found in the 
inner diagram and its coincidence with the details of the vessel. If both the outer 
rectangle and the inner diagram coincide with the details of the vessel and its prin- 
cipal decorations, then we can be fairly well satisfied that such coincidences are 
intentional, and that a system was used. 


In order to ascertain these possibilities we proceed to construct the inner diagram 
by drawing diagonals from each corner, and against these diagonals perpendiculars, 
that is, lines drawn from one or each angle crossing the diagonals at right angles. 
These perpendiculars are always extended until they meet the sides of the rectangle, 
the points of contact being used for dividing a root-2 rectangle into two equal parts, 
a root-3 into three equal parts, a whirling-square rectangle into a square and a 
whirling-square rectangle, as already described. If upon this we find that the nodes, 
or crossings of these various lines coincide with the outlines of the vessel or its main 
decorations, then we can be certain that the artist contemplated these coincidences 
when he constructed the vessel. 

The process can be reversed when, instead of analyzing a vessel, we desire to con- 
struct one. In the latter case we simply produce a dynamic rectangle and its inner 
diagram on paper, and then use the nodes as guiding points in designing the vessel 
or decoration. 


In this method no mathematics need to be used, only the compass and the 
square for producing lines at right angles, instruments known to the Egyptians and 


the Greeks, and to all other ancient peoples who produced artistic objects and 
designs. 


MATHEMATICS AND THE DYNAMIC SYSTEM. The other method in con- 
structing a root or dynamic rectangle is by means of mathematics. This system 


Io! 


was possibly known to the Greeks and the Egyptians, but as now known to us it is 
so simple that it can be used by any schoolboy who has mastered the principles of 
adding, dividing and multiplying. It can be of special advantage to architects 
and designers. Its use is based upon the well-known circumstance that the propor- 
tions of two straight lines of any size and meeting at right angles can be expressed 
in figures. If one side is twice as long as the other side, as for instance in a rectangle 
composed of two squares side by side, their relative form, as well as the form of the 
units to that of the whole area, can be expressed by 1:2, or simply 2, which means 
two squares. This type is also designated as root-4, in the dynamic system, but as 
“two squares” in the static system. The exact proportions of the sides to each other 
in the dynamic rectangles were ascertained by Hambidge, and the numerals desig- 
nating their relationship were made use of by him, in the belief that every one had as 
great a talent for mathematics as he. The numerals which need to be memorized by 
any student, artist or architect who intends to make use of the system are few and 
simple. The side of the square, regardless of size, is always designated as “1”. Except 
in rectangles which consist of an even number of squares, the proportion of one side 
to the other is immensurable, so that a continuous use of figures would never exactly 
express the proportion; but for all practical purposes, three figures will suffice. 
The following are the proportions of the sides in the first seven dynamic areas: 


A square 133 

A whirling-square 1:1.618 
A root-2 rectangle 1:1.4142 
A root-3 rectangle 1:1.732 
A root-4 rectangle 2 

A root-§ rectangle 1:2.236 


In other words, if in a root-2 rectangle the shorter side is designated as 1000, the 
longer side contains 1,414.2 units; that is, it is 414 units longer. These are the num- 
bers for the principal dynamic rectangles. There are others, made by combining 
squares with roots, and roots with whirling-squares, but as far as the writer’s ex- 
perience goes, no such rectangles have been discovered in antique glassware, and 
they are therefore outside the scope of this consideration. 

The way to construct any dynamic rectangle when its proportions are known is 
quite simple if we make use of a ruler with subdivisions of tenths of inches, meters 
or yards. We simply erect a rectangle with, for instance, one side 1 inch high and 
the other 1.618, if we desire to erect a whirling-square rectangle; or 1:2.236 if a 
root-§ is required, and so forth. 


CHRONOLOGICAL PERIODS OF GLASS-MAKING 


The following groups or chronological periods suggest themselves as natural and 
simple. It must, however, be remembered that each period overlaps the one pre- 
ceding as well as the one following. A sharp division is therefore not possible. These 


102 


Plate 17. The Auldjo cameo vase, from Pompeii, now in British Museum. Ist century 


B.C. to 1st century A.D.—See page 157; Text Fig. 111. 


103 


yi toe 


Plate 18. The cameo vase in the Cabinet de France, Bibliotheque Nationale, Paris. Augus- 
tan era. Top and base restored.—See page 155-158, general. 


l 105 


Plate 19. The Naples cameo amphora, found in Pompeii. Ist century B.C. to Ist century 
A.D. Front view, after W. Zahn.—Scee page 157. 


107 


Plate 20. The Naples cameo vase, found in Pompeii. 1st century B.C. to 1st century A.D. 
One of the side views.—See page 157. 


109 


= er. eee oe ; Lt 
Lj i? ar J 4 
7 « 
. ‘ : 
. 
F 
j 
, 


Plate 21. Corresponding details of the Naples cameo vase, center, and the Antioch chalice, 
sides, showing the close relationship of design, plan and arrangement of principal 
details and consequently of date.—See page 157. 


III 


wi 


Plate 22. Ihe Campana beaker with overlaid and carved decorations. Ist century B.C. to 
ist century A.D. Louvre. Below an Arretine bow] with related decorations of 
vine leaves. St. Louis (Mo.) Museum.—See page 167. 


Lies 


divisions into periods are based upon the material, the matrix, of which the glass 
was made. The technic is also considered and perhaps the best general characteristic 
of the periods previous to the discovery of glass-blowing from a bubble or a liquid 
mass of glass. Hand in hand with the technic came the form and proportions which 
naturally had to accommodate themselves to the material, the technic and the 
practical use for which the vessels or other objects were destined. The decoration 
and the colorations of the glass must also be taken into consideration. 

The fact that certain forms were repeated in different periods does not invalidate 
these fundamental principles, because the glass vessels of one period could never be 
so well imitated as to defy research work, provided the student be well acquainted 
with the originals. Even with full knowledge of all the characteristics of a glass a 
perfect imitation would bea rare exception. A greater difficulty is produced by our 
finding glass secured through robberies of older tombs in which this is mixed with 
and reburied with later glass, as for instance in the Scandinavian and Lombard 
tombs which, though late, often contain objects made several hundred years earlier. 
But once these possibilities of error have been pointed out, no difficulty should be 
encountered in assigning to each glass its proper general period. Some antique glass 
is, however, undatable because the specimens were separated from the other finds 
before the date of the tomb was known, and sold to collectors who were fully 
satisfied by the assertion that the glass was antique. 


THE PERIOD OF GLAZE. This period began in prehistoric Egypt and lasted to 
the middle of the second millennium B.C. During this period objects of glass were 
unknown, but objects made of stone and clay were covered with simple, generally 
yellowish or greenish, glaze. The duration of this period must have been two or 
three thousand years. 

THE PERIOD OF CORE-WOUND GLASS. During this period, which began in 
the middle of the second millennium B.C., small objects were made of pad-glass, but 
vessels were generally produced by first shaping a core of sand, and by coating this 
core with glass threads softened by heat. This period continued for more than one 
thousand years, until the time of the Ptolemies, when new methods for making 
glass were invented. 

THE PERIOD OF TUBE-BLOWN GLASS. Asa period proper, it lasted but two 
hundred years from the middle Ptolemies to the time of Augustus. During this 
period vessels were made of pad-glass by first rolling up the pad into a tube, and 
subsequently enlarging the tube by blowing. The vessels made by this simple 
technic were small, but beautiful and delicate, beyond any made afterwards. 
During this period gold-glass was invented and perfected by enclosing gold leaf 
between two films or thin sheets of glass. Enamel, that is powdered glass mixed with 
oils, was first made in this period. During this period vessels were also made by 
joining tubes of different sizes, and closing the base with a glass pad. 

THE PERIOD OF BUBBLE-GLASS OF AUGUSTUS AND TIBERIUS. This 
period comprises the whole or part of the 1st century B.C. and the greater part 
of the 1st A.D. During this period was invented the use of the blow pipe, whereby 


115 


glass could be blown and a vessel made from a drop or mass of fused glass. At the 
same time the use of composite glass rods was discovered. The rods were at first 
coated by dipping, but later were made by fusing together columnar rods of differ- 
ent colors so as to produce a pattern when cut off transversely. Another remarka- 
ble type of glass discovered was the cameo glass, which permitted of mouldings 
and carvings of marvelous beauty. A special quality of glass, now called ivory 
paste glass, was invented in this period but disappeared with it. The cities Sidon 
and Tyre were the headquarters of glass, but the art spread to Italy in the mid- 
dle of the 1st century A.D. Moulded glass was much in use during this period. 


EARLY ROMAN PERIOD OF BLOWN GLASS. This period begins somewhere 
in the end of the 1st century A.D. and continues to the time of Constantine in all 
its glory of delicacy and lightness, good size and simple form, with applied or 
ground decorations. But little moulded pad-glass was used; the bubble-blown, 
lighter and more transparent glass, being a comparative novelty, was more attrac- 
tive. In the early part of the period classic forms were in favor, but in the end of 
the 2d and through the 3d century, Oriental types became models and extravagant 
disproportions crept in. Most of the glass found in Italian, French and German 
tombs belongs to this period. 


THE CONSTANTINEAN AND EARLY CHRISTIAN PERIOD. The material 
and the technic, as well as the artistic quality in general, degenerated during this 
period so that already at the end of the 4th century A.D. the art of making un- 
colored transparent glass had been lost or was so rare as to be negligible. Still dur- 
ing this period a revival of old Egyptian forms took place, probably through finding 
glass in ancient tombs. But with all its poor glass matrix, its awkward forms, its 
crude technic and its vulgar and stiff decorations, this period produced the sym- 
bolic and religious glass which is most interesting and worthy of collecting and 
study. Glass with Christian symbols, glass reliquaries, glass amulets, arose and dis- 
appeared, and now constitute an everlasting source for study, enjoyment and admi- 
ration. The colors of this glass are dark and crude—brilliant blue, red, and green 
being scarce—with a peculiar sadness pervading every object made. But it is a sad- 
ness relieved by faith and hope and introduces us to the very thoughts of those 
who made and owned these objects created by earliest Christian enthusiasm. That 
principally the religious glass has been preserved is easily explained by the enthu- 
siasm of religious thought which caused everything worthy of decoration to be deco- 
rated with religious symbols. This period is all the more interesting because its 
glass has never been studied by archelogists devoted to Christian art, and thus 
offers a wide new field for investigation. 


THE BARBARIC OR MEDIEVAL PERIOD. Our knowledge of the glass of 
this period, which began somewhere in the 5th century A.D. and lasted until the ad- 
vent of the Venetians about the 12th century, is mostly derived from Merovingian, 
Lombard, Gallic and barbaric tombs in general. The glass vessels might have been 
made in different places but the types are everywhere the same. Beautiful forms are 
nowhere seen, the glass is dark, the colors poor, except in the beads, in which the 


116 


new orange yellow is the most interesting. Crude red and yellow are the most 
common and many of the glass beads are dull brick-red with white stripes. A sur- 
prising number of barbaric glass beads were made during this period, but it seems 
probable that they came principally from Egypt, even though they are now found 
in Italian, Frankish, German and British tombs. The best specimens found in the 
tombs of this period were with certainty derived from robberies of more ancient 
tombs. 

A new revival in the art of glass-making came through the Arabs and the 
Venetians. 
THE ARABIC PERIOD OF GLASS. The Arabic period is well defined in its 
artistic qualities, but its chronology is uncertain and so too is the place where the 
best specimens originated. The Arabic conquest began in the 7th century and was 
practically over in the 8th. The fine Arabic glass as we know it to-day, begins in 
the 9th century, reached its perfection in the 14th century, and then suddenly 
degenerated. The common glass of the Arabs is practically unknown as it was not 
found to be important enough to be enclosed in the tombs. The only Arabic glass of 
which we possess more extensive knowledge is the enameled glass which began in 
the gth century and practically ended, as far as its quality was concerned, with 
the 14th century. It is called Arabic because it has come down to us from ancient 
mosque treasures and because it contains Arabic, and Kufic, inscriptions. Schmo- 
ranz has shown that this glass was made, not in Egypt, but in Damascus, at times 
on account of special orders for the decoration of the mosques. The Arabic period is 
thus characterized by the rediscovery, by the Arabs or by the Venetians, of un- 
colored transparent glass, and by the perfecting of the use of colored enamels. The 
Arabic or Syrian artisans introduced lapis lazuli, and other mineral colors as 
pigment in the coloring of the glass. They perfected the use of gold enamel, made 
use of ornamental lettering, deriving this art and taste from the Syrians and the 
artisans of Mesopotamia, the Sassanians and the Persians. The Arabic glass was 
made known to Europe by the Moors in Spain, but especially by the Crusaders, who 
brought back with them many specimens which struck their fancy. The Crusades, 
however, ended before the best Arabic glass was made. Some of the so-called 
“Arabic” glass in our museums is in reality Sassanian. 
HINDOO GLASS. On account of finds of antique glass in India, a tablet, datable, 
according to information given by A. K. Coomaraswamy, of Boston Museum of 
Fine Arts, to the Ist century B.C. to the 4th century A.D., some claim a high 
development of glass-making for that country at an early date. (Arch. Serv. India, 
Ann. Rep., 1919-1920, p. 24; 1920-1921; and 1923-1924, p. 115.) But the flask of 
stratified glass illustrated as a specimen is not Indian, but Sidonian, evidently 
imported. (See also: Marshall, Guide to Taxila, p. 57.) 


117 


PART III. CLASSIFICATION OF TYPES: EGYP- 
TIAN PERIODS 


CLASSIFICATION OF ANTIQUE GLASS TYPES 


LASS can be classified according to various principles, but like all arti- 
ficial classifications none of these is perfect or generally applicable. For 
the general groupings we will follow the period system already mentioned. 
For the types and the regroupings of types, we will use the more detailed 

characteristics of technic, form, decorations and coloring, at the same time bearing » 
in mind that, whereas modern glass is manufactured in innumerable places, each 
locality and each manufacturer trying to outdo his competitors, antique glass was 
produced in a comparatively few places which offered special facilities for procuring 
the proper sand and soda required for the matrix. Such favorable circumstances 
were at first combined especially along the Nile delta and about Sidon and Tyre, 
but as facilities for transport increased these original foci of glass manufacture lost 
some of their importance. . 

Kisa’s divisions of classification are more detailed, but as they are not well 
defined and illustrated no one can follow them unless he could procure illustrations 
of every specimen Kisa had in his mind. As far as the writer knows and has experi- 
enced, much of the glass in our public museum and private collections is unclassified, 
and, unfortunately, arranged to impress the ingenuous public rather than the 
student. Much of it is arranged according to size, the result being to confuse the 
chronology even when indicated. 

THE PERIOD OF GLAZE. The period of glaze commenced about one thousand 
years before the first Egyptian dynasty, several thousand years before glass was 
invented. Beads of pottery and stone glazed pale yellow, almost uncolored, were in 
use during the period of the first Egyptian burials, in Egyptian prehistoric times. 
Later the glaze became more distinctly green and dull blue, which during the IIId 
to the XIIth dynasties was improved, so that we find beads of stone and pottery 
from tombs of that period with rich green and fine brick-red glaze. In the XIIth to 
the XVIIIth dynasties, glaze reached a great perfection, both as regards brilliancy 
and softness, a combination of qualities never again equaled, and only rivaled with 
the advent of the Arabs. Much of the beauty of the early Egyptian glaze, as well as 
that of the Arabic, especially the green Arabic—Rakka—glaze, is due to the fact that 
the transparency of the glaze permitted the lower white matrix to reach the eye. A 


118 


corresponding effect was impossible in any other glass except in gold-glass, and in 
stratified glass, types which depend for their remarkable beauty upon the reflected 
light from the lower layers. Glaze was at first restricted to pottery and stone. 
Although in time glass beads and glass vessels replaced the pottery vessels and the 
pottery beads, it is doubtful if these innovations equaled the earlier ones in perfect 
beauty. At first the difference was not great, but as technic was perfected, the early 
simple beauty gave place to showiness. 


FIRST EGYPTIAN PERIOD OF GLASS 


THE PERIOD OF CORE-WOUND GLASS AND PAD-GLASS. The glass vessels 
during this period were produced by dipping shaped cores of sand into fused glass, 
or by winding threads and rods of glass around a sand core, shaped as a cup or flask. 
The sand was probably held together with gum, albumen or by some unrecognized 
substance which could be readily dissolved afterwards. The threads were later fused 
to adherence and finally the inner sand core was scraped away. Another technic 
consisted of using a pad of glass which could be moulded to shape. The surface of the 
vessels was decorated with threads of glass which in the better specimens were 
rolled into the surface. The pad was produced by pouring fused glass over a slab of 
marble, the matrix being either simple or a mixture of angular pieces of glass pressed 
together in the way of a “breccia,” in which colored fragments of glass were mixed 
with fused uncolored glass.—Pls. 1-3. 

The favorite decoration of this period consisted of colored glass threads or rods 
which, after being wound around the vessel, were dragged into patterns of garlands, 
arches, feathery columns, etc., a technic which was continued throughout history 
until our day. 

The first objects made of glass were amulets and beads, the earliest dating from 
the XIth dynasty. So far no vessels of glass have been found to be older than the 
XVIIIth dynasty. The glass of this period, especially its early part, is characterized 
by its milkiness due to innumerable minute air bubbles which remained in the glass 
and gave it a pleasant softness, not shared by any later, more technically perfect, 
glass. 

The glass beads of this period were plain or decorated with wound threads, with 
simple dots or bosses, or with stratified eyes, a technic which distinguished them 
from the Roman beads in which the eyes were produced from cut-off, compound 
rods of glass. The characteristic form of the glass beads of the early Egyptians was 
due to the technic of laying the rod over a bronze wire. Later cuff beads were made, 
like the pottery cuff and tube beads of the XIIth dynasty. 

Until the gth century pure uncolored transparent glass was unknown except 
perhaps in very minute quantities. But about that time beads made of glass almost 
optically perfect began to appear in Italian tombs, undoubtedly imported from 
Egypt or Syria. Vessels, however, were not made of such glass until the Ist cen- 
tury A.D. During this period, which lasted from the XIth dynasty to the early 
Ptolemies, tube-blown glass and bubble-blown glass were unknown. The result was 


119 


that the vessels are heavy and had to be ground to thinness on the potter’s wheel, 
or by hand with emery powder. The vessels are consequently small, and only 
exceptionally of a size approaching the Roman vessels of the Ist century A.D. 
TYPES OF GLASS VESSELS OF THE EGYPTIAN PERIOD. We can dis- 
tinguish between two chronologically distinct series of glass vessels. The earlier, 
which characterize the XVIIIth dynasty, consisted of more open vessels, such as 
cups, urns, etc. The later vessels, characterizing the centuries immediately before the 
Ptolemies, were principally long and narrow balsamaria and amphorisks, the earliest 
dating perhaps from the gth to the 8th century B.C. Small beautiful pitchers with 
handles are also known from these same tombs. Moulded and carved portrait heads 
of unsurpassed quality date to this period.—Pls. 1, 2; Figs. 98-103. 


RENN 
CLYUIL 
ATR 


\Z 


Figs. 98-103. Types of core-wound Egyptian vessels, XVIIIth and XIXth dynasties. 


PAD-GLASS CUPS. Small cups made by pressing a sheet of pad-glass in a bowl- 
shaped mould. The rim is generally made by adding to its edge a twisted glass rod, a 
finishing used in most all glass vessels of the early Egyptian period. Innumerable 


eS. 


Figs. 104 and 105. Pad-glass objects of XVIIIth and XIXth dynasties. 


fragments have been found, the most interesting collections being from the Palace 
of Amenhotep and Lisht. Discovered by the expeditions of the Metropolitan 
Museum. Mostly dragged patterns.—Fig. 104. 


120 


COLUMNAR BALSAMARIA. The form is that of a narrow column crowned by a 
lotus capital with petals in one or two rows. With or without a low foot-ring. The 
decoration plain or dragged ring threads. Base is generally rounded requiring a 
holder as support. Use: supposedly either for unguents or incense sticks.—Fig. 77. 


COLUMNAR VASE 


Mrs. W. H. Moore Collection. Pl. 3. Height 3.2”; diameter lip of rosette 1.3”; 
neck 0.6”; base 0.8”. 


Matrix dull opaque blue glass with characteristic dull grayish tint. Columnar, 
upwards tapering, capital rosette with eight petals, lotiform with central tube rim. 
Decorations: yellow glass thread lining of petals, a collar around the neck, and a 
double white thread around the base. The technic is doubtful, the surface being 
marked by microscopic striations from top to base, which might indicate that it was 
made of lump- or pad-glass with central bored cavity. 


SECOND EGYPTIAN PERIOD OF GLASS 
SECOND EGYPTIAN PERIOD. From gth B.C. to the Ptolemies. The technic 


pad-glass and core-wound glass. The vessels are small, used for the toilet, and only 
occasionally large enough for household purposes. Balsam flasks and small flasks 
with handle and pinched lip spout. Matrix dull, blue, opaque white, brown, violet. 
Decorations, dragged threads, dull yellow, turquoise green, opaque white, etc. Very 
few form types. The matrix generally dull, opaque with innumerable bubbles. 
Neither tube-blown or bubble-blown glass in use. Perfectly pure uncolored glass 
appears in Italian tombs of the 8th century in the form of beads, this being the first 
occurence of such glass known.—Pls. 4, 5; Figs. 106, 107. 

7HE SARGON VASE. Matrix dull uncolored, with the name “Saryukins” in 
cuneiform letters. Pad-glass or core-wound, finished by grinding. British Mu- 


seum.—Fig. 106. 
GRE eae) 


Fig. 106. The Sargon vase, pad-glass Fig. 107. Late Ptolemaic pad-glass vase, 
or core-wound. core-wound, Brooklyn Museum, N. Y. 


COLUMNAR ALABASTRONS. Form cylindrical, columnar, rounded base, with 
two minute knob or loop handles, sometimes prolonged downwards on the side; 
mouth rim flat, circular, with small central bore without tube. Matrix dull, opaque 


12! 


white, blue, violet, mostly with dragged threads of yellow, white or turquoise blue 
green. Very numerous from IXth to the Ptolemies. The body is generally tapering 
upwards, base rounded or even pointed. Mostly from Syria and Egypt.—PI. 4. 
ASSYRIAN GLASS FORMULZ. According to R. C. Thompson, On the Chemistry 
of the Ancient Assyrians, London, 1925 (copied in The Glass Industry, New York, 
Nov., 1926, p. 264), a cylinder of the time of Assurbanipal (668-626 B.C.) contains 
twenty-seven different-formule of glass composition. From this conclusions have 
been drawn that Assyria had attained a greater proficiency in this art than Egypt, 
at a much earlier date than Egypt. The Sargon vase, Fig. 106, however, is a clumsy, 
unartistic pad-glass object, and the incompleteness of the formule, and the re- 
petitions of references to cooling the oven before inserting the glass mixtures show 
that the writer was a copyist, perhaps an Assyrian traveler in Egypt who had col- 
lected the formulz for home use. Had Assyria made fine glass, Sargon would not 
have placed his name on one of the poorest. 


ALABASTRON WITH YELLOW AND BLUE 


Mrs.W.H. Moore Collection, 714. Height, 3’’; diameter lip flange, 1.3’’; neck, 0.7”. 
Matrix deep violet blue glass, with innumerable bubbles, core-spun technic. 
Plain and dragged thread pattern, ochre yellow and pale blue. The mouth flange 
was added after scraping out the core.—PI. 4, d, f. 
PEAR-SHAPED AMPHORISK. Small toilet vases made with core-wound 
technic, plain or with dragged pattern. Appear in Italian tombs about 800 B.C. 
Also found in Syria and Egypt. With or without handles.—PI. 4, a, 6. 


AMPHORISK. WITH HANDLES 


Mrs. W. H. Moore Collection. Syrio-Egyptian. About 800 B.C. Height 3.33”; 
diameter, 1.9’"—Pl. 4 

Matrix dull se, blue, thick, heavy walls, decorated with chrome yellow he 
brick-red threads and bands in an irregular spiral from top to base. 
MINIATURE WINE PITCHERS. These begin to appear in the early 8th 
century in Italian tombs. Many come from Syria, which seems to have been, 
together with Egypt, the place of manufacture. In elegance of form and careful 
technic these little core-wound pitchers are not equaled by any. Matrix generally 
blue with white, ochre yellow and turquoise green dragged decorations with closely 
set band.—PI. 4, c. 
OIL FLASKS WITH HANDLE AND BASE RING. The decorations resemble 
the fragments of glass found in the Palace of Amenhotep, and we can assume that 
the type occurred in the XVIIIth dynasty. The form is that of a pitcher with 
pointed but slightly pinched mouth. The decoration is dragged with upright feath- 
ery designs of great perfection.—PI. 4, e. 
MELON AND LOTUS BEADS. The most important, certainly the most in- 
teresting beads made of glass and pottery, in antiquity, are those known as melon 


122 


Plate 23. Fragments of moulded glass and cameo glass, mostly from the Bibliotheque Na- 
tionale, Paris, but some from the Metropolitan Museum.—See pages 168, 331. 


123 


<> 


iis 


About 534 


d Albert Museum, London. 


. 


ictorla an 


Plate 24. ‘Two moulded glass tiles, V 
x 234 in.—See page 168. 


125 


+7 


beads, though they should with more propriety be called lotus beads. They are 
ribbed and possess the same form as a cantaloupe melon. In another place the 
author has already shown that they were originally, that is in the XVIIIth dynasty, 
derived from the lotus bud, the idea and symbolism perhaps going back to pre- 
historic times. A lotus bud in the form of a bead is in the Metropolitan Museum, 
dated to prehistoric Egyptian times, and it seems probable that this early type 
was connected with the later one in the time of Amenhotep. 

CONICAL CHESSMEN. Chessmen made of lump- or pad-glass were in use since 
the XVIIth dynasty, and their use continued indefinitely. They can be more or less 
correctly dated from the quality of the glass, the Roman ones being generally made 
of pieces of left-over mosaic glass or waste. The form is more or less conical, but 
flatter specimens are also found. They must, however, not be confounded with the 
flat, circular, upper convex disks which were used in pairs, cemented to each other 
with a bore passing through the cement, as beads in a necklace. Some could also have 
been used as markers in games. One chessman in the Moore Collection measures: 
height, 1.1’; base, 0.7’.—Figs. 105, 108. 

BUTTON BEADS OF GLASS. These beads have the form of disks with a flat 
under surface and a convex upper one. They appeared in quantity in the 5th century 
B.C. in Etruscan tombs as well as in Egypt. They were used cemented together 
with the flat surfaces joining, the bore passing through the cement. The earliest 
button beads were plain, but they were soon decorated with threads and bands of 
glass, and with drops, bosses, etc. In the Augustan era they began to be made of 
mosaic glass. In the 4th century A.D. they were decorated with the Constantinean 
cross and drop symbols. So far none as yet found has been dated, or can be dated 
after the 5th century A.D. Kisa and others, even after the publication of my paper 
on Button Beads, continue to describe these beads as markers in playing games, 
which they can not be, because the under surface is never worn. Besides, two and 
two, in pairs of the same size, but of different colors, are nearly always found 
together in excavations, and generally in collections, which shows that they had 
some connection. Too, if these were markers we should not expect them to be 
scattered over the country. They are found not alone in tombs, but on the surface 
everywhere where no games could have been played, which shows that they were 
dropped through the parting of the cement supporting them in a necklace. The 
actual necklace illustrated in the author’s article just quoted proves their nature. 
Their dates are determined, partly by their form, which was high and irregular at 
first; by their size, which was small before the 8th century B.C. and which grew 
as time advanced; by the decoration, which was absent in the oldest, simple in the 
sth century B.C., made with mosaic pattern in the time of Augustus and with 
dragged patterns, but especially with Christian emblems, in the time of Constan- 
tine. Some with the Vision of Constantine are figured among the amulets in this 
monograph.—PI. 129; Fig. 108. 


127 


PART IV. SIDONIAN PERIOD AND ITS TYPES 


SIDONIAN PERIOD 


YRIO-PTOLEMAEAN PERIOD. 3dcentury B.C. totst century A.D. This 
period is mostly characterized by the Sidonian glass, mentioned by Pliny 
and other ancient writers, and identified by Kisa and others with certain 
forms found in Syria and to a lesser extent in Egypt. 

The Sidonian glass, as we now understand it, comprises pad-glass, tubes, tube- 
blown glass, stratified glass, and bubble-blown glass, succeeding in the order men- 
tioned. It is proper to distinguish between an early period and a late period, the 
latter including the reign of Augustus and Tiberius up to Nero. During this period 
tube-blown and bubble-blown and mosaic technics were invented. The glass matrix 
was perfected from sluggish to rapid flowing. The colors were improved. The matrix 
known as the ivory paste glass appears for the first time in the time of Augustus. 
The most admirable technic is that of stratified glass, which appeared and soon 
vanished with the increasing craving for size and transparency, two qualities which 
have proved the ruin of the ancient artistic glass. On account of the great perfection 
of the artistic quality of the glass in this period, some historical references to Sidon 
and its nearby cities may be of interest. 

SIDON, THE QUEEN OF SYRIA. The city of Sidon was known to the ancients 
as “‘the Queen City,” or as ““The Great,” already a thousand years before Rome, 
Antioch and Alexandria had become prominent. It was the mother city of innumer- 
able colonies, scattered along the shores of the Mediterranean and the coast of the 
Atlantic. Its sailors traded with the south of Britain and had, so it is said, a famous 
temple at the northern end of their trade route, Avalon or Avallon, later one of 
the foci of the legends of the Holy Grail. Sidon became the center of arts and in- 
dustry and especially was its manufacture of glass mentioned by the ancient 
writers. Its name, Sidon, is said to mean hunting, or a locality where wild animals 
could be hunted profitably, a suggestion made likely on account of the city of 
Ornithopolis—city of birds—in the immediate vicinity. 

HISTORICAL HAPPENINGS. In ancient times, 1450 B.C., Sidon was a promi- 
nent city—at the time of the XVIIIth Egyptian dynasty, it furnished Egypt with 
vessels for a navy, and it was mentioned by Joshua, (x1:8) as “great Zidon.” 
In 1290 it was destroyed by the Philistines, an event which caused the rise of Tyre. 
In 811-782, it was taken and held by Ramman-Nirari, the Assyrian, who made it 


128 


pay tribute. In 676, it was destroyed by Esarhaddon. In 570 it was taken by the 
Egyptian Ouaphres. In 535 conquered by Cyrus. In 480 it supplied Xerxes with 
ships against Greece. In 351 it joined the revolt against Artaxerxes Ochus but was 
betrayed by its king, Fennes. In 332 it submitted to Alexander. In 323, at the 
death of Alexander, it was given to Ptolemy and thus became joined to Egypt, par- 
taking of its art and influence. 

In modern times: In 1107 it was taken by the Crusaders; December 19, 1110, 
taken by Baldwin; in 1187 it was retaken by the Saracens; in 1197 retaken by the 
Christians; in 1229 it was given to Federico II, Roman emperor, who resided in 
Palermo, Sicily. In 1249 it was captured by the Saracens. In 1253 captured and 
destroyed by the Templars and again lost. In 1291 it was in the hands of the Tem- 
plars but again taken and destroyed by the Saracens. Later it was taken by the 
French and lost by them to Djezzar in 1791. In 1837 greatly injured by an earth- 
quake; in 1838 rebuilt by Soliman Pacha. In 1840, September 28, it was bombarded 
by the English, Austrians and Turks under Napier. 


ORNITHOPOLIS. Below Sidon, but above or north of Tyre, lay a city called in 
ancient time Ornithopolis, meaning the city of birds. Much of the glass now called 
by us Sidonian is decorated with birds in various poses, sitting, flying, nesting. 
Many of the birds resemble storks and swans, a circumstance which suggests that 
this city was a center for the manufacture of glass in the time of Augustus and 
Tiberius. 

THE SIDONIAN COLONIES. All writers of antiquity agree in their statements 
that the Sidonians founded colonies around the Mediterranean basin, almost from 
their earliest arrival on the coast of Syria, about or before 1200 B.C. Cyprus, 
Crete, Siphnos, Tharros, Tracia, Chalcis and Porto Eusino were said to have been 
colonies of the Sidonians in the near east, while further west were founded Carthage, 
Sicily, Sardinia, and Spain. They extended their voyages southward to the equator, 
and northward to the British Islands, or further. It is also said that a pot contain- 
ing a hoard of Carthaginean coins has been found in a small volcanic crater on the 
Island of St. Michael of the Azores some little distance west of the present Ponta 
Delgada. The Greeks claimed that Cadmus, the founder of their nation, came from 
Sidon, but others hold that the Sidonian colonists of Crete at a later date returned 
and founded the Sidonian empire in the early part of the first millennium B.C. The 
general theory has been that the Sidonians acted as general distributors for the glass- 
ware made by the Egyptians and that they themselves did not manufacture the 
ware carried by themselves to distant parts of the then known world. This theory 
cannot, however, be sustained. 

THE SIDONIAN GLASS. From the theory that the Phcenicians and Sidonians 
acted as distributors of the ancient glass instead of having been the actual manu- 
facturers, we should expect to find Phoenician glass in the tombs of Britain and the 
north of Europe. This is not the case. The earliest ancient glass found in the north of 
Europe is glass that was brought there by returning vikings, by soldiers who had 
been in the employ of the Roman emperors, and finally by the emigrants during the 


129 


Great Migrations. Of early Sidonian glass, such as we know it now, there is no trace 
in the north. This proves that glass was not traded to any extent by the Sidonians, 
and that the later glass found in the north was brought there by others. The majority 
of the ancient glass found in Scandinavia dates to the 3d to 4th centuries, the 
earliest having been derived from the robbery of ancient tombs during the Migra- 
tions period. There is said to be much Phcenician glass in the museum of Cagliari, 
Sardinia, but photographs recently received from the director of that museum prove 
that but a few of the specimens are core-wound glass, while the great majority are 
Ist century glass types also found in Pompeii. Not one single specimen of such 
typical Phoenician glasses as the stratified and the moulded ivory paste glass is 
among the photographs sent me, which were said to include all important types. 
The same types were sent me from the Public Museum in Tripoli, Tripolitanea, 
Africa. This, it seems, disproves the existence of a widespread glass trade among the 
Phoenicians. 

The Sidonian glass comprises the manufactures of the late Ptolemies and those of 
the reigns of Augustus and Tiberius, with a slight revival in the 2nd century A.D., 
the latter poor. 


THE SIDONIAN TECHNIC. According to the Sidonian technic we can dis- 
tinguish between the following types: pad-glass; tube-blown glass; bubble-blown; 
blown in a mould glass; moulded pad-glass; stratified glass, pads and tubes; mosaic 
columnar rod-glass; gold-glass. Moulded glass occupied the most prominent place in 
the later part of the period, depending upon Hellenistic designs. 

THE SIDONIAN MATRIX. The glass matrix consisted at first of plain pad- 
glass; later stratified glass of various colors; the invention of the columnar rod; the 
ivory paste glass, the bubble-blown glass. Clear transparent glass was rarely used 
on account of its inferior artistic qualities; opaque glass, however, predominated. 
THE MATRIX COLORS. The characteristic colors of the Sidonian glass are deep 
blue, in transparent matrix, opaque, white ivory paste blue-gray, pale yellow; 
brilliant transparent emerald green; natural violet, brownish yellow and cherry red. 
SIZE OF THE VESSELS. The size of the vessels was small, none being large 
enough to serve as household objects. The majority were made for toilet use and for 
religious rites in connection with the lares and penates in the home. 

IMITATIONS OF PRECIOUS STONES. Pliny (Historia Naturalis, XXXYV1) 
states that the Sidonians imitated precious stones. They probably also invented the 
grinding of glass so as to give a crystalline form to their imitations. The modern 
complicated faceting of stones was, however, not known. The simple pyramidal form 
is the most common in Sidonian beads. | 

THE SIDONIAN DECORATIONS. ‘The Sidonian glass is generally decorated by 
the means of mouldings with inimitable, smiling, happy faun and Pan heads. Others 
are decorated with temple vessels, objects of the arena, laurel leaves and wreaths, 
Greek themes of acanthus and anthemion, unsurpassed in simplicity and naturally 
graceful charm. Even grotesque heads and faces were designed and moulded in 
glass, but always with a dignity not seen in the Roman caricatures. In order to 


130 


fully understand the nature of the Sidonian decorations we must remember that the 
art of glass-blowing from a bubble had then been only recently discovered, and their 
technic had not yet reached the point where vessels could be blown of sufficient size 
to be used as household utensils. The artisans had therefore to depend upon 
delicacy, harmony and color for the attractiveness of their ware, in which they were 
pre-eminently successful. Their glass, even in modern times, has not yet been 
equaled, much less surpassed. 


THE CHIEF DECORATIVE TYPES 


HUMAN FIGURES. The human figures, including deities, were represented full 
length in relief, always designed with Hellenistic proportions and in Hellenistic 
style. They include nymphs, bacchantes, fauns, etc., as well as heroes.—Pls. 46-48. 
PLANT REPRESENTATIONS. These include fruits of various kinds, especially 
grape bunches, pine cones, pomegranates, all sacred in the religious rites. They are 
used singly, a favorite place being between columns under arches, alternating with 
other objects. We also have life symbols such as Trees of Life.—PI. 52. 

WREATHS. The wreaths are generally made of laurel branches with a horizontal 
position. Leaves alternate with berries on stalks, ivy sprays with star-shaped leaves; 
palm leaves are common but placed upright and used as division marks between 
areas, especially to cover the mould ridges. Leaf sprays, mostly on Cyprus glass, 
are used in more or less the same way. There too, we find trefoils and braided leaves 
in bands probably used as protection against the evils of magic.—PI. 60. 


F©OOBIiISS 


Fig. 108. Chessmen and button beads.—5th century B.C., a, c—time of Constantine, d@, ¢ 
—about Ist century B.C., f, g—showing the manner in which the button beads 
were cemented together. 


PROCESSIONAL AND TEMPLE OBFECTS. The most conspicuous moulded 
decorations of Sidonian vessels consist of representations of actual vases placed 
under arches and between columns, just as we would assume that they stood in the 
temples to Bacchus and Astarte in Sidon. They are confined to a few types of flasks, 
and are always repeated in the same order. This strengthens the theory that they 
represent actual temple treasures, such as could have been seen in the sacred pro- 
cessions or could have been found in temple niches. They are closely connected with 
the processionals.—Fig. 114. 

PROCESSIONALS. They consist of representations of jewel boxes, amulet boxes, 
sacrificial plates, crossing torches and a few other objects not yet identified. They 
too, were perhaps carried in the sacred processions, and were familiar objects to the 
spectators.—Fig. 118. 


131 


OBYECTS OF THE GAMES AND ARENA. Strigils, disci, oil vases, prize vases, 
laurel wreaths with bands.—Fig. 120. 

SYMMETRIC PATTERN. Perhaps purely decorative, including cross-hatched 
fields, anthemia, spiral curls, scrolls, sprays, shields and rosettes. It should be 
noted that martial objects are lacking. This is in accord with the well-known peace- 
ful and religious sentiment of the Phoenician people.—Pl. 54. 


CHRONOLOGY AND TYPES OF THE SIDONIAN PERIOD 


Without defining either the beginning or the end of the Sidonian period, which 
naturally overlaps the one before and the one which followed after, we can distin- 
guish three minor sub-periods which compassed the Ist century B.C. and the Ist 
century A.D. 

THE EARLY SIDONIAN PERIOD. Pad-glass alone. Tube-blown glass. Tube- 
blown stratified glass. Ptolemzan glass. 

THE MIDDLE SIDONIAN PERIOD. Bubble-blown in a mould. Mosaic glass. 
Ennion and other signed vessels. 

LATE SIDONIAN OR EARLY ROMAN. Fiat pressed bowls, cups snd plates. 
Innumerable minor flasks, tubes and toilet articles of poor glass and poor technic. 
The end of this period might be considered as having comprised the end of the 
Ist century A.D. and the first years of the reign of Hadrian in the 2d century A.D. 


TABLE OF THE EARLY SERIES OF SIDONIAN GLASS 


THE PAD-GLASS SERIES. Plain, pressed, tube-blown, moulded, cameo cut, 
mosaic, rod pads. 

Chessmen, button beads, markers. Fig. 108. 

Gold-glass with gilt reliefs. Pl. 6. 

Plain pressed pad-glass cups and bowls. PI. 7. 

Plain glass urns. Cinerary urns Augustan era to 2d century. Pl. 9. 

Plain pad-glass urns with stratified decorations. Pl. 11. For comparison: 

Pl. 43, ¢. 

Pad-glass cylinder sections. Pls. 10, 12. 

Pad-glass urns with enameled designs. Color Plate II. 

Pad-glass urns with gutta and granulations. Pl. 14. 

Plain pad-glass with horizontal handles. Pl. 15. Including open work. For 

comparison: Maara, Pl. 186; Silver cups, Pl. 187. 

Cameo pad-glass. Pls. 16-21. 

Intaglio in glass. Pl. 23. 

Carved plain glass. Lycurgus beaker, etc. Text Fig. 111. 

Mosaic pad-glass. Pls. 26-35. 

Rod pad-glass. Pl. 29. 

Overlaid pad-glass. Pl. 22, a. 

Patella cups of pad-glass, pressed in a mould. Pls. 29-32. 


132 


Spherical patella with bands. Pl. 37. 

Patera, lotus cups. Pl. 39. 
TUBE-BLOWN PAD-GLASS BOTTLES. 

Plain tube-blown. PI. 42. 

Stratified tube-blown bottles. Pls. 42-43. 

Stratified strips and rods. Tubes not blown or slightly blown. Pl. 44 A. 
BUBBLE-BLOWN IN A MOULD WITH RELIEFS. 

Three-sided flasks with mythological figures. Pls. 46, 47. 

Beakers with mythological figures. Pls. 48, 49. 

Sidonian Temple series, with temple vessels. Pl. 50. 

Flasks with processional reliefs. Pl. 51. 

Flasks with palestra objects and symbols. PI. 52. 

The Argonaut series. Pl. 53. 

Flasks with geometrical and scroll patterns. Pl. 54. 

Flasks with basket designs. Pl. 55. 

Six-sided flasks with scrolls and waves. PI. 81. 

Ennion and other signed vessels. Pl. 56. 

Cylinders with Jewish symbols or objects. Pl. 58. 

Cylinders and flasks with victory symbols and objects. PI. 60. 

Pilgrim flasks. Pl. 53. 

Beakers with moulded designs. Pl. 59. 

Chalices. Pl. 62. For comparison: Boscoreale cups. Pl. 62. 
BUBBLE-BLOWN WITHOUT RELIEFS. 

Ampulla flasks, plain or with spiral threads. 

Ampulla flasks with gutta decorations. Pl. 68. 

Paper thin, blown vessels. Beakers and jars. Pl. 69. 
AUXILIARY OBFECTS FOR STUDY. The Sidonian glass can only be under- 
stood by a comparison with other objects made at the same time. These comprise 
objects of pottery and silver. The principal ones are the following, which form with 
the Sidonian glass a compact, chronological and artistic group. 
TERRA SIGILLATA. Vessels made of pottery, glazed red or green, more rarely 
black. They are so named because they are generally stamped with the names of the 
makers or with their seals. They were made on the Grecian Islands, the first known 
having been excavated on Samos. The best known come from the ancient Arretium, 
now Arezzo. The poorer qualities come from Gaul and Germany, Spain and Hun- 
gary. None seems to have been earlier than the Ist century B.C. and the best 
quality ended with the ist A.D. 
GREEN-GLAZED SYRIAN OR MAARA POTTERY. These cups and urns are 
closely related to the silver vases of the Hildesheim and Boscoreale finds and to the 
Varpelev and Hermitage “opus interrasile” cups. 
THE HILDESHEIM AND BOSCOREALE CUPS which either resemble the 
two-handled low, green-glazed Maara vases, or the higher, ovoid shaped Berthou- 
ville vases found in France. 


133 


THE TANAGRA STATUETTES. Some figures, which evidently represent 
goddesses or local protectresses, but made of glass, are with certainty related to the 
Tanagra pottery or terra-cotta figures. 

HELLENISTIC MARBLE SCULPTURES. The remarkably interesting circum- 
stance that the Double Herm vase, with two female heads, possesses a sister replica 
in Greek marble indicates the origin of this type as Sidonian glass vessels. All these 
types will be represented by some specimens in the latter part of this volume. 
THE ANTIOCH CHALICE. This wonderful vessel possesses some relatives in 
glass of the 1st century A.D. and its decorations are intimately related to moulded 
decorations found on glass and pottery of this period.—PI. 21. 

RELIEFS ON COINS. The vases of certain types could not be understood in 
their relationship to each other and to vessels of other material unless considered in 
connection with the reliefs on Greek and Jewish coins. 


PTOLEMAAN AND SIDONIAN GOLD-GLASS 


There is a great difference between the artistic quality of the earliest gold-glass 
and that of the later period. The earliest, or Ptolemzan, gold-glass contains several 
distinct technical types characterized by a layer of gold film or leaf between two 
layers of glass. 

GOLD-GLASS BEADS. From the tombs of Meroe and other places in Egypt, 
made by gilding a tube of glass and passing it into a larger tube. The tubes were 
then cut to size and the ends closed by fusing. Many specimens are in the Metro- 
politan Museum, but the most remarkable from the Meroe tombs are now in the 
Antiquarium of Munich. 

SCRATCHED GRAFFITI. Mentioned: by Kisa, p. 838. The decorations consist 
of acanthus, winged amorines, etc., now in the British Museum. 

GOLD-GLASS RELIEFS. From an existing relief in metal or marble a mould was 
made in clay. From this mould a glass relief was made. After gilding the relief the 
whole was covered with a sheet or film of glass. Later the edges were fused to 
adherence.—Pl. 6. 

THE NUPTIALS OF AMOR AND PSYCHE. The specimen is part of a bowl of 
blue glass, about 7 inches in diameter. The figures are raised and covered with gold 
leaf, fissured by expansion. Amor, winged, is standing by Psyche, who in her left 
raised hand holds a wreath with which to crown her lover; between them is an altar, 
in the form of a tripod of Hellenistic style. Once in the Niessen Collection. 


EARLY PAD-GLASS BOWL CUPS 


Plain cups and bowls produced by pressing a pad ina mould or by forming them by 
hand. The truncated sphere is the most common form. All the earliest drinking 
cups of glass were made in this technic, but minute toilet cups were also produced. 
Some of the cups were large enough to invert over a jug so as to keep out the dust. 
The same technic was used in producing mosaic pad-glass cups.—PI. 7. 


134 


Plate 25. Intaglios and one moulded relief of glass, 1st century B.C. to 2d century A.D. 
Mrs. W. H. Moore Collection.—See pages 168, 332. 


Moe 


AS 


Plate 26. Fragments of columnar mosaic glass, Egyptian types. The Metropolitan Museum 
and the Freer Collection, National Museum, Washington, D. C.—See page 193. 


137 


Plate 27. Columnar mosaic glass tile, seemingly a portrait of an oriental personage. Egypt. 


Once in the Gans, now in Mrs. W. H. Moore Collection.—See page 197. 


0 


Plate 28. Fragments of rectangular mosaic glass tiles, Egyptian types, laurel sprays, poppy 
heads, various flowers. Arthur B. Davies Collection. Augustan era.—See page 


LOW 


14! 


Plate 29. Cups of columnar mosaic glass, white rods in violet matrix. Ist century B.C. to 
Ist century A.D. Syrian. Mrs. W. H. Moore Collection, 4; Metropolitan Mu- 
seum, @, c. Ist century B.C. to 1st century A.D.—See page 197. 


143 


Plate 30. Mosaic glass plates, 1st century B.C. to 1st century A.D. Mrs. W. H. Moore Col- 
lection, a; Ed. B. Moore Collection, Metropolitan Museum, 4. The latter with 
four representations of necklaces in the triangular fields—See page 197. 


145 


" it ey (Were aie so vol} 


{ 


5 


f 


2 


eo 


Plate 31. Columnar mosaic glass plates. Neues Museum, Berlin, white, red and green in 


blue matrix, after photograph by Mr. Fritz Treu, a; The Phebe A. Hearst plate, 


University Museum, Philadelphia, brick red, turquoise green, pale yellow, 4, Ist 
century B.C. to 1st century A.D.—See page 193. 


147 


Plate 32. Patella and patera bowls of mosaic glass, columnar scrolls. Augustan era. Upper 
and lower, Metropolitan Museum; central patera lotus cup, Mrs. W. H. Moore 
Collection. See page 198. 


149 


After the 1st century A.D. the pad-glass cups were succeeded by blown-glass 
cups. For convenience’ sake, two cups of minute size, possibly blown-glass, are 
included in this group. 


SIDONIAN GLASS CUP 


Height, 2.4’’; diameters: rim, 4.4’’; base, 3.8”. Mrs. W. H. Moore Collection, 656. 
Pl. 8. Violet manganese glass. Cylindrical sides, with flat base as wide as the rim. 
Two inner ground-out concentric rings produced by a lathe. 


TRUNCATE SPHERICAL BOWL CUP 


Height, 1.3”, diameter of rim, 2.7”. Mrs. W. H. Moore Collection, 688.—PI. 7. 

—The bowl is truncate spherical with contracted outline above the base. Metallic 
violet luster oxidation. 
FARS AND CUPS MOULDED AND GROUND TO FORM. The Ist century is 
rich in its exquisite blue or pure uncolored cups and jars, formed in a mould and 
then ground down and polished, and often decorated with a few concentric lines. 
The form of the cups, which is similar to those with gutta drops, assists to date these 
types with certainty. The color is mostly a fine deep blue, like that in the two pad- 
glass urns with granulated and mottled decorations.—PI. 8. 


SIDONIAN BOWL CUP 


Height, 1.45’; diameter, 1.7’’; base shoulder, 1.8”; base, 1.1’. Mrs. W. H. Moore 
Collection, 651. Transparent uncolored glass of greenish tint, approaching the 
cylinder form, with narrower mouth than bulge. This and similar cups seem to have 
been made of pad-glass pressed in a mould and afterwards ground to smoothness and 
finish. Their delicacy of color and form is marked and characteristic of the Ist 
century.—Pl. 8, 2. 


IWonea 


Fig. 109. 1st century A.D. vessels with foot-base moulded in one with the body.—Stratified 
glass, Mrs. W. H. Moore Collection, a—Sangiorgi Collection, —blue glass, c— 
Sidonian, ¢, e—early 2d century A.D., f. 


THE BASE OF MOULDED AND PAD-GLASS TUBE-BLOWN FLASKS. But 
few pad-glass flasks of the early Augustan and Tiberian eras have been preserved, 
but all those we know of are of exquisite form, color and general appearance. Their 
most conspicuous characteristic lies in the foot which is in one with the body, a mere 
contraction of the lower part of the original tube and later body proper. Such bases 


151 


are also found in the stratified flasks, in the bubble-blown and moulded (PI. 47). 
Temple series of flasks, in some of the flasks with double Bacchus faces. It is also 
found in the superb yellow flask with applied head in relief under the handle which 
is the gem of the Giorgio Sangiorgi Collection in Rome, and of which there is a splen- 
did colored reproduction in his monograph.The pad-glass foot in one with the body 
is common in the Ist and 2d century moulded glass but rare after that. The latest 
observed by the author date from the end of the 2d century; after that an 
added base ring came in use.—Fig. 109. 


HEAVY PAD-GLASS VASES—PLAIN OR WITH DECORATIONS 
OF THE AUGUSTAN ERA 


This group is partly contemporary with that of the stratified pad-glass group. The 
vases were made by forming sheets in tubes or by pressing a sheet of such glass in 
a mould as in the stratified group. Two or more such units were joined by fusing or 
cementing. 

The decorations were painted on the surface or made by drops of glass or granules 

of glass sprinkled over the surface, fused and rolled in. The cameo vases belong 
naturally to this group, as they too are mostly made of pad-glass. They were 
commonly found in tombs of the 1st century B.C. to the time of the destruction of 
Pompeii in 79 A.D. After that time they were replaced by blown glass. Ground 
decorations in the form of sunk disks and ovals also occur at this time. The same 
forms are found in Arretine pottery, Roman silver, crystal ware, plain glass and 
amber.—Pls. 9-14. 
FRUIT, OIL AND CINERARY URNS. A considerable number of urns with more 
or less pointed covers have been found in the tombs of Gaul, Germany, central 
Europe, Italy and Spain. A few come from Syria and Egypt. They were used for 
various purposes both as household utensils and as cinerary urns. Some found in 
Italy contained the remnants of fruit and oil, others coming from the columbaria 
contained ashes of the dead. The earliest seem to date from the Ist century B.C., 
the latest from the middle of the 3d century, when cremation was superseded by 
burial in large sarcophagi. 

The urns are of several distinct forms, Kisa classifying six or more. 

DOLIUM URNS. Spherical body, or body approaching the spherical, with or 
without handle, generally with pointed cover. The earliest are hand-formed, the 
later are blown. The forms were derived from the more ancient water jar or hydra. 
The most remarkable of all the urns of this type is the one in the Metropolitan 
Museum, made of violet brown matrix with stratified glass decorations.—PI. 11. 
CRATERS OR CRATER URNS. More or less spherical body, gradually contracted 
downwards. Handles confined to the shoulder. 

AMPHORA, of the same general form but with the loop handles connecting the 
shoulder and the mouth rim.—PI. to. 

CYLINDERS with cover, mostly from Gaul and Britain. 


152 


STAMNIUM FORMS. Cylinders with a handle resembling flasks, or jugs and 
jars. 
PRISMATIC VASES. With four or six sides. 

The Ist century urns differ, according to Kisa, from those of later date in that the 

neck is very low. The 2d century urns have more elongated neck and larger handles, 
like those of the amphora, between shoulder and lip rim. 
PAD-GLASS VASES WITH STRATIFIED DECORATION (Augustan era.) 
This type has until now been described and labeled as “band glass.” The pattern 
was not, however, produced by permitting bands of opaque glass to dissolve or be 
incorporated in a plain matrix, but by causing strips of stratified glass to fuse 
partially in the already formed pad-glass vase, thereby placing these vessels close to 
the stratified glass series. The most splendid specimen of this type is the large 
cinerary urn in the Metropolitan Museum, said to have been found near Turin, 
Italy. Small cantharus and lotus cups with a similar decoration are not uncommon. 
In some of the smaller specimens the strips were first folded zigzag, or the whole 
body was made up of a single strip of such stratified glass. The characteristic mul- 
berry-like grape clusters on this vase are also found on green glazed Syrian pottery, 
a specimen of which is reproduced on Pls. 11, 188. 


TUBE-BLOWN PAD-GLASS FLASK WITH ENAMELED FIGURES 


Mrs. W. H. Moore Collection. Ptolemaic. Pl. 12. Height 4.1’; of neck and mouth, 
1.6”; body, 2.4”. Diameter: mouth, 1.83’; neck, 1’; body, 3.1”. Syria. 

Olive-green matrix. Made of three or four different tube sections cemented 
together: the base, the body, the neck, and the mouth. The body was finished after 
fusing by grinding the surface. 

The decorations consist of enamel applied with the brush depicting the following 
scenes from left to right: 

A man seated, holding in his closed hands a round ball over a turntable in the act 
of fashioning a vase. Above the table a funnel-shaped beaker without handle, with 
concave tapering body and a vase with truncate pear-shaped body and wide funnel- 
shaped neck. A wide jar stands before the table. 

A man seated, tending the fire in a furnace oven, at the top flames. A potter’s oven. 

A man and a boy filling a cylindrical oven with pottery. Above are hieroglyphs. 

Two men standing facing each other arguing. Behind one are three perpendicular 
glyphs in a row. 

A man with bent body kneading soft clay. A crescent-shaped tray-stand at the 

feet of the man. Above a row of glyphs. 
PAD-GLASS FLASK WITH TWO HANDLES. Several specimens of this type 
are in the Gorga and Brooklyn Museum collections. Made of greenish heavy tube- 
glass, generally in three units: body, neck and mouth cemented together. The 
handles are also heavy. The narrow central opening was produced by pushing a rod 
through the body. The one figured here is based on two parallel root-3 rectangles, 
placed side by side, but no great correspondence in detail —Fig. 107. 


153 


CRATERS, SCYPHUS URNS, CARCHESIUM URNS. Old Greek forms, once 
made of pottery and metal, were in the time of Augustus made of pad-glass, hand- 
formed or pressed in a mould. Craters were mixing bowls for table or household 
use. The scyphus was a vase with or without foot-stand but always with a flat 
horizontal handle. The carchesium vase possesses a lower spherical or wide bulging 
body and an upper part with inwardly curved sides. They seem to have been a 
favorite type for libation and temple rites, some having been reproduced in paintings 
and reliefs representing processions, rites, sacrifices and festivities—PI. 13. 


CRATER VASE WITH ENAMELED DECORATIONS 


Height, whole, 5.35’; foot and stem, 1.3’; diameters: bulge, 4.6”; top, 5.65”’; 
base, 2.8’’; stem, 1.05". Mrs. W. H. Moore Collection——PI. II. Colored. Deep 
blue pad-glass. The body was pressed in a mould and the stem and foot added. A 
crater form without handles. The decorations on the foot contain gutta drops of 
opaque white and yellow; those on the body proper consist of a wreath of painted 
enameled technic. The design is made up of two half wreaths or sprays tied together 
with a cord. We see leaves of laurel, myrtle and olive with a few berries and stalks. 
A flaked palm-leaf girdle around the base, a plain horizontal line and a row of short 
dashes below the rim, all painted in green, yellow and opaque white, now oxidized. 
Syria. A unique specimen of unsurpassed quality. 


CRATER URN WITH HANDLES AND STAND 
Gutta Drop Decorations 


Height, 3.7’; diameter, 3.7”. Mrs. W. H. Moore Collection. Matrix blue glass 
formed in a mould, and decorated with red and white gutta drops.—PI. 14. 

The form is that of a crater of small decorative size. A low but heavy foot, a 
rounded base of the bowl, which has inwardly-swung sides, and two ear handles on 
top of the shoulder. 


Fig. 110. Scyphus cups, Augustan era—The Varpelev interrasile, a—cut and ground crys- 
tal, Terme Museum, Rome, 4—Arthur B. Davies Collection, c—Maara pottery, 
d—Syria. 


SCYPHUS CUPS WITH OR WITHOUT FOOT-RING. Semi-globular with the 
handles in line with the upper rim. The handles are flat, with a lower ring and an 
upper thumb-guard. The form is common especially in Maara, Syrian pottery, in 
the Boscoreale silver, etc. The Varpelev opus interrasile cup belongs here and stands 
close to the Augustus cup. Pl. 190. Mrs. W. H. Moore pottery cup with Parthian 


154 


warriors, the Metropolitan Museum blue glass cup and the Arthur B. Davies 
cup are of this type. A similar cup form does not occur after the 1st century A.D.— 
Pl. 15; Text Fig. 110. 


OVERLAID GLASS 


Kisa, and after him German writers on glass, use the name “Ueberfangsglas” and 

“Ueberfangstechnik” for a series of glass types which are neither technically re- 
lated nor chronologically connected. In order to avoid any confusion, we prefer to 
separate the types under distinct names: stratified glass, cameo glass and double 
glass, with the following characteristics of each: 
STRATIFIED GLASS is composed of superposed sheets of glass of different col- 
ors fused to adherence. It was only used in strips cut from the edge of the pad in 
order to show the different layers on the surface of the vessel, or strips were used 
as decorations on other glass. 


CAMEO GLASS. The glass pad is made up of two or three sheets, the uppermost 
being opaque. When used, the opaque upper layer was cut to design and the rest cut 
away in order to expose the lower layer as a background. Ordinary cameo glass. 
Sometimes the design was moulded, and the white layer made from threads. 
DOUBLE GLASS. Two sheets of different glass, yellow and green, blue and green, 
etc., were fused to adherence. In this manner a vessel could be interiorly of one 
color and exteriorly of another color. This type has no relationship with the double- 
colored, red and green glass of the Augustan era (Lycurgus vase). 


CAMEO GLASS AND OTHER CARVED DECORATIONS 


In the 1st century B.C. the Greek cameo carving in hard stone was partially 
rivaled by the carving of cameo glass. It is generally assumed that the technic 
consisted of covering a vase of dark glass with a layer of opaque white glass, then 
cutting the latter toa pattern and removing the white glass between the design, thus 
permitting the dark colored glass to act as a background. Such a technic, however, 
would have been intricate and costly, and the fact that those few specimens which 
have come down to us were made up of a series of more or less modified cylinders 
suggests that the method was at times somewhat different. The first step was 
probably to produce a mould with an intaglio representing the design in all its 
details. Into this mould, of several parts probably, was pressed a pad of opaque 
white glass which was carefully thinned out between the designs. Back of this white 
layer with its relief was fused a pad of colored glass, and later on was added another 
upper pad to serve as a neck and a lower pad to act as a base. The last step in the 
process was to finish the figures with the carving tool, at the same time removing the 
thin opaque film which covered the spaces between the figures. This technic was 
with certainty used in creating the numerous lion and Medusa heads which we find 
applied to antique glass vessels of the 1st to the 4th centuries A.D. The same 
technic was used in pottery, especially in the Maara vases in Syria. Some of the 


155 


finest cameo glass has been found in Pompeii but this does not imply that it was 
made shortly before the destruction of the city. The time of Augustus seems more 
likely than the latter part of the 1st century A.D. 

The use of moulds was probably also resorted to in producing glass carving of 
monochrome glass. We will probably find in time that some of the cameo glass carv- 
ings were copied from hard stone cameos by means of moulds, a technic which would 
be quick and cheap, qualities much appreciated in the Ist century A.D. 


THE MOORE CAMEO VASE 
With Menad and Faun. Hellenistic, rst Century B.C. 


Said to have been excavated on the Villa Albani near Rome by Carlo Marchione 
when he constructed that palace for Cardinal Alessandro Albani, in 1760. It later 
was in the collection of Baron Wladimir von Griineisen, representative of the 
Imperial Archeological Institute Nicholas II, Florence; the Fahim Kouchakji 
Collection in 1925; now in the Mrs. W. H. Moore Collection. 

Height 7.5”. Pl. I. Matrix deep blue with pearly opaque white cameo layer. 
The form is oblong pear-shaped with slender neck and somewhat funnel-shaped 
mouth part. The decorations are in four distinct parts, or bands separated by opaque 
white horizontal thread borders. Above, immediately below the mouth a wreath 
or horizontal grapevine scroll in naturalistic design. Next below this, occupying 
the rest of the neck, two Hellenistic anthemia consisting of a spread palm leaf 
surrounded by the outlines of a heart-shaped leaf with inwardly turned base spirals. 
The main decoration which occupies the body proper of the vase contains but two 
figures, one on each side. One a tripping menad sounding the flute; the other a 
dancing faun holding in his right hand a thyrsus staff resting on the shoulder, and 
in his left hand a long wreath. On the sides between the figures are anthemia with 
outwardly swung base spirals. The lower carved band along the base contains a 
simple wreath of laurel leaves with the leaf pointing towards the right. The design 
and technical execution of the figures are masterly, and superior to either the 
Portland or the Naples vase. The technic is light, airy, graceful and shaded, 
with the draperies graduated into the blue matrix. The subject represented was a 
favorite one in the Alexandrian reliefs of marble (Hauser, Die Neu-Aitischen Reliefs, 
pp: 84, 136). The figure of the dancing faun is similar to the one sculptured on 
the famous Borghese vase in the Louvre but superior in design. The Moore vase 
is one of the three found perfect and intact and can be considered as the greatest 
masterpiece in antique cameo work until now discovered. See also Art Classique, by 
Baron W. von Griineisen. Galerie M. Bing, Paris, 1925. 

THE PORTLAND TWO-HANDLED VASE. This vase is generally described as 
an amphora because it possesses two handles, but it does not resemble the Greek 
vases of that name. It is a moulded and formed pad-glass vase made up of at least 
three separate parts, as can be seen by the minute nicks on the neck of the flask. It 
was found in the 16th century and owes its perfect preservation to the circum- 


156 


stance that it was hidden in a sarcophagus and had never been directly exposed to the 
soil. It was found at Monte del Grano, three miles outside of Porta S. Giovanni, 
Rome. For one hundred and fifty years it was in the Barberini Collection but later 
was sold to Gavin Hamilton, who in 1786 presented it to the British Museum. In 
1848 a crazy or drunken sailor smashed the object, but it was carefully mended by 
means of transparent balsam and appears as when found. The opaque layer varies 
between a mere film and a 5-millimeter thick layer. (Compare Kisa, Das Glas, 
pp- 179-183, Pl. VII, Text Figs. 188, 189.)—PI. 16. 


THE FROEHNER CAMEO VASE. This vase derives its name from the well- 
known archeologist, W. Froehner, once director of the Louvre Museum, who was 
the first to describe it. It originally belonged to Sambon, in Paris, but was bought 
by J. P. Morgan. 

THE CASTELLANI MEDUSA HEAD. Deep blue pad-glass matrix with pale 
blue, opaque upper layer, carved to represent a Medusa head. One of the most 
artistic carvings of this type known. Found in Italy. In the Castellani Collection, 
Rome. 

THE AULDFO PITCHER FROM POMPETT. It is important to notice that the 
three best specimens of Ist century A.D. cameo glass possess special features, not 
found in later objects, which resemble the corresponding ones of the Antioch chalice. 
These have to do with the form of the vine leaves, lotus buds, vine tyings, vine loops 
and the approaching knees of the vines. The Auldjo vase or oil pitcher was found in 
the Casa di Goethe when excavated in 1834 and is now in the British Museum. It 
contains doves, grape leaves, bunches, lotus buds, vine tendrils, etc. The spacing 
and general division between decorations and background is the same as in the 
Antioch chalice. Kisa, p. 584; Minutoli, p. 3, III; de la Motte; Froehner, p. 85.— 
Plays kee iit. 

THE POMPEIAN TRULLA. Kisa, Fig. 191. Decorated interiorly and exteriorly 
with opaque white masks, grape and oak leaves, vine tyings, etc., of which our illus- 
tration copied from Kisa, Fig. 191, gives a fair idea. The matrix is deep blue, almost 
black. A pad-glass vase about 30 centimeters high.—Text Fig. 111. 

THE NAPLES CAMEO AMPHORA. One of the most artistic objects known, 
decorated with opaque white designs on deep blue matrix. The design contains four 
distinct views, placed opposite each other, two and two being practically of the 
same type. On two sides we see amorines harvesting grapes, playing, making wine, 
etc., but on the front and back grapevines with approaching knees as on the An- 
tioch chalice. The correspondence between the chalice and the amphora is further 
increased by the fact that the vine node is covered in both, in the chalice by an 
eagle and basket, on the amphora by a theatrical mask. A further correspondence 
concerns the rectangular space in the vine loop, which in the amphora is occupied by 
four rosettes arranged in a rectangle, the corresponding area in the chalice being 
occupied by the figure of Christ, also occupying a rectangular area.—Pls. 19-21. 
THE TORRITA BALSAM BOTTLE has the form of an amphora with pointed 


base but without handles. It contains finely carved Bacchic scenes. It was 


157 


excavated near the railroad station at Torrita, in Val di Chiana, in 1870, and is now 
in the Museum of Florence. The lady celebrant holds in her hand a cantharus in 
appearance absolutely similar to the Hermitage vase which latter must be of the 
same date, and not of the 3d century as supposed. (Lovatelli, 41 della r. Acad. dei 
Lincei, 1884, vol. 13.) 

THE CAMEO TILE OF SCAURUS. Held by Kisa as the most beautiful of the 
glass cameos, but its decorations are not well known (Kisa, Fig. 193), nor is the place 
of origin authenticated. Its carvings represent Apollo and the Muses as statues 
standing under arches, as in the temple series. 

THE LIBBEY TOLEDO VASE. A somewhat fragmentary vase in the style of the 
Naples vase with pale blue matrix and opaque white cameo carvings, superior in 
design and execution to the Portland and Naples vases. Supposed to have been 


Fig. 111. Augustan era. The Hermitage silver and glass cantharus—the Pompeian trulla— 
the Auldjo cameo vase—the Lycurgus carved glass goblets. After Kisa, with per- 
mission of Karl W. Hiersemann & Co. 


collected in Italy. The most entire figure is a dancing faun with a cymbal. Now in 
the Toledo Museum, to which it came with the Curtis Collection donated by Mr. 
Libbey. 

THE LYCURGUS BEAKER. Found in Italy, now in the Rothschild Collection in — 
London, but lately mislaid (Kisa, p. 612). Froehner describes it as one of the most 
remarkable pieces of antique glass known. Kisa errs in dating it to the 3d or 4th 
century, a time when such matrix was unknown. The figures resemble those of 
Arretine and Maara pottery of the 1st century, to which the glass matrix also 
belongs. The vase is carved out of a thick glass which is green in reflected light 
and ruby red in transmitted light. A fragment of such glass is in the Castellani 


158 


Plate 33. Cups of mosaic glass, columnar rods, a; lamellated sections, 4, South Kensington 
Museum; stratified bands and strips, Metropolitan Museum, c. Augustan era.— 


See pages 193, 198. 


159 


Plate 34. Plates of lamellated mosaic glass. Lamellated, short sections, a, Victoria and Al- 
bert Museum, London; bands and rods, 4. Augustan era.—See pages 193, 198. 


161 


Plate 35. Cups of rounded or flattened rods. ‘Trina rods. Mrs. W. H. Moore Collection, 
a; Metropolitan Museum, 4; Fahim Kouchakji Collection, ¢; Metropolitan Mu- 
seum, made of trina rods, d.—See pages 198, 207. 


163 


Plate 36. Patella cups of moulded and ground pad-glass, ivory paste, opaque white and 
cherry red, mosaic glass. Augustan era. Mrs. W. H. Moore Collection, a—d, g, 
hi; Metropolitan Museum, e, f. Syrian.—See page 209. 


165 


Collection from the find outside of Porta del Popolo, and this was of the 1st century 
B.C. Other fragments of this glass came also from tombs of the Augustan era, one 
now in the Vatican Museum. Our representation is reproduced from Kisa with 
permission of Karl W. Hiersemann, the publisher (Froehner, p. 90: Michaelis, 
Annali de? Inst. 1845, p. 114; 1872, p. 257; Nesbit, Cat., p. 13), Fig. 113. Once ex- 
hibited in the South Kensington Museum.—Text Fig. 111. 


INTAGLIOS IN GLASS MATRIX OF THE AUGUSTAN ERA. Glass intaglios, 
mostly on small circular disks about one inch in diameter, were quite common in the 
Augustan era, but they are mostly so oxidized as to make a study of the design 
difficult. Augusto Castellani showed the writer many hundreds found in a receptacle 
excavated on Monte Mario, in Rome, but so decayed as to be of little artistic value. 
Their technic was the same as that of intaglios in hard stone. Well preserved speci- 
mens are extremely rare. They mostly represent heads and bust portraits. 


THE CAMPANA CAMEO BEAKER WITH GRAPEVINE GARLAND. Now in 
the Louvre, from the Campana Collection made in Italy. The form of the beaker is not 
egg-shaped as figured (Kisa, Fig. 112), but with flat base and cone-like shape. Nor is 
the beaker datable to the 3d century (Kisa, 475), but to the time of Augustus, and 
its technic is not “‘barbotine,”’ but made in cameo style. This much can be decided 
from the study of a good photograph. The technic was begun by the making of a 
concave mould from a carved cone. The mould was about one-fourth shorter than 
the beaker, as the mark where it ended is plainly seen near the base, a little below 
the lowest decorations. The decorations were made by pressing colored glass in the 
decorated part of the mould, and afterwards finishing the beaker with blown, or 
perhaps with pad-glass. The following details show conclusively that the decorations 
could not have been made by barbotine. The leaves are sharply outlined; the berries 
are graded, the smallest being at the apex; the concentric rings of the lower disks are 
geometrically true; the upper disks or rosettes possess sharply defined partitions. 
The streamers which issue from the lower rosettes are quite regular as if carved, and 
could not have been made in any other way. The beaker is nearest related to the 
Auldjo vase and the Pompeian trulla in the Naples Museum, and must have been 
made in the same technic.—PI. 22. 


GRACO-HELLENISTIC INTAGLIO IN GLASS 


Mrs. W. H. Moore Collection, 1st century, B.C., 0.8” high by 7.1’’ wide. A 
female head carved in glass in the style of a carved gem. Judging from the hairdress 
this specimen belongs to the Ptolemaic period, not later than the Ist century B.C. 
It is carved in Hellenistic style. The hair is dressed in five semicircular waves covering 
part of the forehead. Below the last one of these is seen a bunch of grapes. The hair 
is crossed by a band and covered with a veil, lifted at the back by a comb into three 
crests or peaks, which hang down over the right shoulder. The dress over the bust 
is folded and creased and comes down over each shoulder, meeting in the center of 


167 


the breast. Over the lady’s left shoulder is seen a square broche. In front of it 
descends a tress of hair ending on the shoulder. 

Cut in uncolored pure glass. The most beautiful specimen of the art of this period 
the writer has seen.—Pls. 23, 25. 


INTAGLIO IN DEEP-GREEN GLASS 


Height, 1.1’. Mrs. W. H. Moore Collection. Intaglio, representing a female face 
with straight profile and simply dressed hair. A very good work not later than 
Augustus.—PI. 25. 


DOUBLE HEADS BACK TO BACK 


Size of the blue, 0.9”; the green one, 0.7”. 

Blue glass, represents a priestess with long descending curls. The one in green 
glass represents a high priest. Both could be of the 1st or 2d century B.C. The 
priest’s head is especially fine. Each contains the remains of an eyelet indicating 
they were pendants in necklaces. Syrio-Greek art.—PI. 25. 


PLAIN TABLETS AND PLATES 


GLASS TABLETS AND WINDOW PANES. Plain, moulded and even mosaic 
glass tablets seem to have been in common use in the Augustan era as decorations 
of walls and other flat surfaces. Ancient writers tell that Scaurus, 58 A.D., used 
tablets of glass for the walls of his theater (Kisa, p. 393). The walls in the theater of 
Marcellus in Rome were also decorated with glass tablets. The emperor Commodus 
(180-192) is said to have covered the walls in the atrium of the Palatine palace with 
plates of a substance called “fengites’’ which reflected the images of those who passed. 
Search was made for fragments when the hall was excavated, but the excavator, 
Professor Boni, failed to find even the smallest fragment. 


Pad-glass plates for windows have been found in Pompeii and in Ostia. These 
plates were made of thick glass, but the surface was not smooth and could never 
have been sufficiently transparent to permit anything but diffused light to pass 
through. The writer saw a glass plate 114 feet wide being excavated in Ostia, but 
such large sizes are rare. Glass plates for windows have also been found in the 
basilica of Junius Bassus on the Esquiline. This building, however, seems to have 
been of the 4th century A.D. when window glass must have been found in all 
better houses. In Pompeii small window panes of glass are yet in place. But as 
windows in antiquity did not have the same purpose as in our day, these crude and 
uneven glasses served only for transmitting light. They were not blown but made 
by pouring fused glass over a marble slab, thinning it out by rolling. 


PLATES, SAUCERS, TRAYS AND DISHES. Flat dishes made of pad-glass 
seem to have been common in the Augustan era, perhaps more as a curiosity than 


168 


for practical use. So far no dating of forms is possible on account of lack of references 
to the finds. They were common in Pompeii.—Fig. 47. 
PLATES WITH HORIZONTAL HANDLES. The handles form a crest at two 
opposite ends of the plate or dish rim, extending horizontally in the plane of the lip 
of which it forms a part. Such dishes can be dated on account of their similarity to 
pottery dishes of the same type described by Hoenen, Pl. XVI, F. 105, Oswald and 
Pryce, Pl. 57. 

One plate of silver of this type is in the Morgan Collection. The type persisted 
from the Augustan era until the first half of the 2d century A.D.—Figs. 22, 23. 


169 


PART V. MURRHINA AND ITS IDENTIFICATION 


MURRHINA 


CCORDING to Pliny, vessels made of murrhina were first introduced to 

Rome 61 B.C., by Pompey the Great. Evidently already in Pliny’s time 

opinions differed as to the nature of this substance, and he therefore set 

to work describing it in as careful a manner as he could. His descrip- 

tion of murrhina is the only one which has come down to us, and unfortunately most 

translators of Pliny had no knowledge of the objects made in the early Roman 

empire, or they translated in such fashion as to make the matter conform to a pre- 

conceived theory. Unable to devote the space necessary to a full discussion of the 

subject, the writer is obliged to present a condensed summary of an essay prepared 
by him several years ago, and as yet unpublished. 

The first to discuss this subject in modern times was Cardanus, who, in 1550, sug- 
gested that murrhina was identical with Chinese porcelain. In 1791, murrhina was 
identified by Von Veltheim as Chinese jade. Claude de Rosiére was the first, in 1803, 
to connect murrhina with fluor spar. Ten years later, his opinion was sustained by 
Thiersch, who added that the mineral fluor spar was imitated by the Romans in 
glass. This opinion was also held by Mariette, who believed that the imitations were 
made in porcelain. In recent years Berthold Laufer once more identifies murrhina 
with porcelain, but most museums, private collectors, and especially Italian dealers, 
follow Kisa in claiming the identity of murrhina with mosaic glass. 

In a general way it can be said that Pliny’s description shows that murrhina 
possessed the properties of a mineral, and not the properties of glass. This is upheld 
by the wording in Periplus,Chapters 6 and 58, in which we read: ““Malva in India, 
whence onyx-like and murrhina stones are brought to the port of Barygaza on the 
west coast.” 


The origin of the name, as well as its spelling, is disputed. It is written with or 
without “h,” with “y,” or with “u.” The most likely derivation is from the gum 
myrrh (Latin myrrab, Greek uWppa, Arabic murr), given on account of its aromatic 
odor, which resembled myrrh, and which gave the wine a highly appreciated flavor. 
The gum myrrh was similarly used by the ancients for flavoring wine, and to this 
day it is used as a flavoring or condiment for food in Syria and the Near East 
generally. Fluor spar possesses a similar odor. 


Anton Kisa, the most profound student of antique glass, devoted forty odd pages 


170 


(Das Glas) in trying to prove that the ancient murrhina as described by Pliny and 
as mentioned by some of the poets, must be considered identical with the mosaic 
glass of the earliest Roman emperors. In fact he counted it oneof his greatest achieve- 
ments and life work to have finally and forever placed the much discussed mur- 
rhina vessels “where they belong.” In order to accomplish this to his own, and to 
many others’ satisfaction, he employed the same process of argument and conclusion 
as used by some archzologists in our day to prove or disprove others’ opinions. He 
mentioned every possible argument which could be cited as favorable to proving 
murrhina being glass, but avoided according any importance to facts which showed 
that murrhina could not possibly have been that substance. We have no space to 
quote in full Pliny’s description, which unfortunately is incorrectly translated in 
certain detail in our textbooks; but the following condensed account contains the 
important points: 

Pliny, Historia Naturalis, XXX, 2. Murrhina is a mineral, derived from the earth, 
of great fragility. 

XXXVI, 67 ff. Manufacturers made glass in imitation of murrhina, hyacinths 
and sapphires, and every other tint. Transparent glass was more valued than colored 
glass. Glass does not stand heat, and in order to be fused must first be pulverized. 


XXXVIT, 7. Murrhina was introduced by Pompey dedicating the vessels to 
Jupiter Capitolinus. But some were released and became owned by private persons. 
One vessel was sold for 70 talents (350,000 francs, old value) although it hardly held 
three pints. Consul Annius was so fond of his murrhina cup that he gnawed the 
edge, which enhanced its value. Nero held an exhibition of numerous confiscated 
objects, among which were murrhina vases, in his private theater on the Tiber. A 
tremendous crowd went to see them. A broken bowl was exhibited in a glass 
case or on a deep glass tray. The Consul Petronius broke his murrhina “trulla,” 
worth 300 talents, so that it should not fall into the hands of Nero, but the latter 
at once bought another for 300 talents so as not to be outdone by a subject. (One 
talent = $1,100.) 

XXXVI, 8.The Orientwas the homeofmurrhina, especially Parthia and Carmania. 
It is solidified by heat under ground. In size the pieces never exceed a small tray and 
in bulk rarely equal a drinking cup. It lacks strength and it possesses a luster rather 
than splendor (color). Its value lies in a diversity of colors and design concentri- 
cally spreading, one after the other, and in blotches of purple and white. And also 
in a third color issuing from the two like flashes of fire. The tints are a transition 
from purple to white. ““There are those who mostly praise the margins and that 
buffeting of colors which one sees in the rainbow.” Some are pleased with the dense 
blotches, transparency and paleness being defects. So also granules and warts; not 
prominent ones, but sessile ones, as often found in the human body. “Besides, its 
odor is favorably commented upon.” 


XXXVII, 11. And these three substances, amber, glass and murrhina hold the 
same rank, no doubt, as precious stones, the two former for the reason that crystal 
(glass) is adapted for cold drinks and murrhina vessels for either hot or cold. 


171 


Summarizing the description given by Pliny, we find the following characteristics 
pertaining to murrhina: 


1. It was first introduced to Rome in the Ist century B.C. 

2. It came from various places, especially from Parthia and Carmania on the 
Persian Gulf. 

3. These places were remarkable for nothing else. 

4. It was found as a mineral under the ground. 

5. There were several varieties. 

6. It was costly. 

7. It occurred only in small pieces. 

8. The Consul gnawed the edge. 

g. This did not lower its value. 

10. It was so rare that Nero caused an exhibit to be held. 

11. The principal colors were purple and white. 

12. The third consisted of flashes of fire as in the rainbow. 

13. Some kinds contained nodules, warts, etc. 

14. The darker varieties were the best, lighter ones were less valuable. 

15. It possessed an agreeable odor. , 

16. It was suitable to hot drinks. 

17. The vessel broken by Petronius was a“trulla” of murrhina (a round flat dish 
with a handle, for collecting or holding the crumbs or the drops of water poured over 
the hands of the diners). The cup purchased by Nero was a sacrificial vessel, a caspis. 

18. The price of the best murrhina lay between 70 and 300 talents. 

19. Murrhina had the same general nature as crystals, amberand precious stones. 

20. The units of the murrhina matrix contained or were arranged in concentric 
rings (subinde circumagentibus) or spreading one after or beyond the other. 


Too much space would be required to take up each one of these points separately 
and compare them with corresponding qualities in mosaic glass of the types figured 
by Kisa, and which he terms “‘murrina.” All interested may do that for themselves. 
If they do they will naturally notice that hardly one single point can be referred to 
mosaic glass, especially the odor and the iridescence of the rainbow fire. No one 
could chew glass, but someone could chew the edge of a vase of a soft mineral. No 
glass possessed iridescence when made—that was added by time as the result of 
decay. There are several minerals of the fluor spar group which possess the odor 
of tar, an odor or taste which is yet so highly appreciated by the Greeks and other 
Orientals, that they actually add pitch or wood tar to the wine jars before filling 
them with wine. 

Besides by Pliny, murrhina is also mentioned by Propertius, Martial, Julius Capi- 
tolinus, Juvenal, Lampridius, Lucanus, Pausanias (Ch. VIII, 18, 5), Seneca, Sidonius 
Apollinaris, Arrianus, Cassius, Vopiscus, Statius, Suetonius, Ulpianus, Atheneus, 
Agricola,and perhaps others. From these stray references we learn that murrhina was 
yet infavor in the time of Domitian while, according to Kisa, mosaic glass (murrhina) 


172 


had ceased to be made in the time of Nero, hence the great price of the older vessels. 
Heliogabalus used murrhina vessels for vile purposes, but as mosaic-glass vessels 
were not in use at his time, his murrhina could not have been mosaic glass. Mur- 
rhina could be used for hot drinks, but glass,according to Pliny, was so brittle that it 
could only be used for cold drinks. Efforts have also been made to show that mur- 
rhina was identical with Chinese pottery or porcelain. Murrhina could not be 
mosaic glass because such glass was common. Murrhina was rare. Murrhina had 
taste, odor and iridescence, qualities which no one can claim for mosaic glass. But 
few types of mosaic glass possess concentric rings, and those which do clearly imitate 
a mineral, like onyx, sardonyx, fluor spar, marble. Glass was brittle, but murrhina 
was tough. Glass is made in many colors, but murrhina was only violet brown and 
white. Murrhina was therefore a mineral. 

The poet Martial mentions “myrrhina” or “murre” many times. From his words 
we can establish the following characteristics, none of which is applicable to mosaic 
glass, but which are characteristic of a natural mineral. Murrhina was yet in high 
favor in the time of Domitian and Heliogabalus. It gave an additional high, desirable 
flavor to wine, like that of pitch (somuch in favor among the Greeksin ancient times 
as well as now). It possessed a structural pattern of spots or nodules, or blotches. It 
was not fragile like glass and crystal. It was advocated for hot drinks. Martial 
seems to connect the name of myrrbina with that of murra or myrra, the only 
connection being that of its odor. Murrhina was, then, tough like a hard gum, not 
brittle like glass. Papias, about 60 A.D. to 135 A.D., and thus contemporary with 
Pliny, directly connects murrhina with myrrh, writing: “murrhiana is a wine 
flavored with myrrha.”’ Pausanias connects “morrhia” with stone. 

Finally, it must be noticed that Carmania was a desert country famous for 
minerals, but not for artistic objects, and so far not one single piece of mosaic glass 
has ever been found there. Murrhina was therefore a natural mineral, and not an 
artificial, highly artistic and complicated glass. This theory is supported by the 
statement that murrhina was imitated. The only imitations of a natural substance 
found in the excavations is the veined, white and violet “onyx glass” which prob- 
ably was intended to represent murrhina. 

We may go yet a step further in our argument and visualize the vessels made of 
murrhina mentioned by Pliny. If we do, we will find that all types possess a handle, 
or two handles. Mosaic glass, on account of its fragile nature, was never made with 
handles. None of the thousands of specimens of mosaic glass excavated possesses, 
or possessed, a handle. 


PART VI. MOSAIC GLASS; CHARACTERISTICS, 
CLASSIFICATION, AND TYPES 


THE MOSAIC PAD-GLASS SERIES 


OR reasons given in our earlier pages, the word “murrhina” is discarded as 

a name for mosaic glass, and the old denomination of “mosaic glass” is 

retained. The series began with the invention of the columnar rod in the 

time of Pompey or Augustus, and remained in fashion until the middle of 
the 1st century A.D. The finer types of mosaic glass vases can, however, be dated 
to the 1st century B.C. With the invention of the blowing of glass from a bubble, 
and with the perfecting of the technic in the time of Pliny, the finer, more expensive 
and beautiful glasses were supplanted by the thinner, more transparent glasses of 
the new technic. The blown glass also supplanted the use of silver and bronze vessels 
of the poorer classes, and even the rich and powerful became enamored of blown 
glass. According to Kisa, mosaic glass vessels had all but disappeared in the time of 
Nero and were never again resurrected. Mosaic glass has been found in later tombs, 
especially in the middle and north of Europe, but all such specimens must have 
come from robberies of more ancient tombs. 

The place of manufacture of the mosaic glass so freely found in Syria, Italy, Gaul 
and elsewhere is yet under dispute. Certain types were certainly made in Syria, 
probably in Tyre and Sidon; some come with certainty from Egypt, and others per- 
haps were actually made in Rome. Still, so far, no factory of mosaic glass has been 
discovered, and until one is found all is uncertain. In the time of Winkelmann, in 
the middle of the last century, a large hoard of mosaic glass fragments was found on 
Isola Farnese not far from Veii, near Rome. Another hoard was found outside of 
Porta del Popolo, both attributed to factory sites, but without proof. It is more 
probable that these were remains of accidentally broken mosaic vessels respectively 
in two shops, as no entire vessel seems to have been discovered. The fragments 
reached thousands in number and seem to have fallen in the hands of one dealer, 
who assorted them and furnished each with a frame of gilt paper or cardboard. The 
fragments were then made up in sets or collections of from one hundred and fifty to 
three hundred, more or less, and sold to collectors and museums. The result is that 
such framed specimens are now seen in many museums and in many collections. 
Could these fragments be collected and pieced together, it is not improbable that 


174 


Plate 37. Ribbed, banded and moulded spherical cups. Augustan era. Mrs. W. H. Moore 
Collection, a, ivory paste glass; the rest, Metropolitan Museum.—See page 211. 


175 


Plate 38. Stemmed bowl with navel cup, lined with opaque white glass. Said to come from 
Egypt. Date uncertain. Mrs. W. H. Moore Collection.—See page 212. 


177 


ny ee Ak 
4 okey 7 * ¥ 
rind - a 
bs - . 
J hd a 
‘ 
; 
> 
‘ M7 
. 
. 
Wf - 


tees) 
Wae« 


Plate 39. Ptolemaic lotus cups of silver. Egyptian Collection, Metropolitan Museum, a— 
d; lotus cup of glass, Svrian, Ist century A.D.—See page 212. 


179 


ine ewe ae Ot 
ih i tii i: my: y 
4 


Plate 40. Lotus patera cups with moulded ribs. Low types, 1st century A.D. Pompeii and 
Syria. Metropolitan Museum.—See page 213. 


18) 


Plate 41. Lotus patera bowls, high types, Ist to 2d century A.D. Italy and Syria. Metro- 
politan Museum.—See page 212; Text Fig. 113, f. 


183 


Plate 42. Tube-blown and stratified glass. Mostly from Mrs. W. H. Moore Collection. 1st 
century B.C.—S¢e pages 214, 227, 228. : 


185 


Plate 43. Stratified glass vases, Ist century B.C. Syrian. Etruscan Museum, Villa Julio, 
Rome, a; Mrs. W. H. Moore Collection, 4, ¢, g; Fahim Kouchakji Collection, 
d; the others, Metropolitan Museum.—See pages 193, 214, 227, 228. 


187 


Plate 44. Bottle of blue and white stratified glass. Sidonian, 1st century B.C. Mrs. W. H. 
Moore Collection. Found in Syria.—See page 229. 


189 


several entire vessels might result. Many of the fragments are, however, lost, having 
been faced in tops of marble and cement tables, ground off and polished so as to be 
attractive to buyers. They were sold mostly in England. The writer found several 
mosaic-glass fragments on the ocean shore near Ostia, making it probable that they 
came from a Roman galley, shipwrecked near the port. If so, they were probably 
made in Egypt. The writer has classified about one thousand separate types or pat- 
terns of mosaic glass, but he has found but few new forms lately. 

Many of the Roman emperors took interest in glass. It is said that Caligula 
sometimes amused himself and friends by going around in the night time, entering 
glass shops, paying for the glass on the shelves, and then smashing the pieces and 
throwing them around. Might it not be possible that the two large hoards of glass 
fragments mentioned above resulted from such revelries?—Pls. 26-34. 

Although the finer types of mosaic glass vessels were discontinued after the time 
of Nero, or with the improvement in the manner of blowing glass, it was never lost 
as an art. It was continually used in the making of glass beads, with ever changing 
designs, so that it is now quite easy to determine the date of a mosaic bead, and 
after it date objects found in the same tomb. So far the writer has figured and 
recognized more than one thousand varieties with perhaps two hundred well de- 
fined types. Of mosaic glass, as it was used in vessels, he has segregated fourteen 
hundred varieties which can conveniently be grouped in fifteen main types (““An- 
tique Glass,” The Art Bulletin, Vol. II), referable to three great main classes: 
Surface Mosaics, Imbedded Mosaics and Matrix Mosaics, a subject too vast to be 
contained in a single chapter and which can not be more than lightly referred to 
in this book. 

The design, technic and material which enter into the mosaic glass types are so 
consistent as make it possible to classify them according to their dates. This is fur- 
ther facilitated by the type of color given to the glass, somecolors appearing suddenly 
at a certain time. Or a certain color combination appears at a certain time. For in- 
stance, bright lemon-yellow opaque glass appeared in the 3d century together with 
grass green. In the 6th century a deep orange appeared together with pale opaque 
celeste and cerulean blue. Once the earliest occurrence of a certain mosaic glass 
color has been fixed, the classification of the mosaic glass types becomes easy and 
convincing. This sudden appearance of certain colors in glass points to discovery, 
importation and new trade routes, rather than to fashion and taste, a subject, 
or subjects, for study which, so far, no one has seriously undertaken. 


KEY TO THE CLASSIFICATION OF ANTIQUE MOSAIC GLASS 
SURFACE MOSAICS 


OVERLAID THREADS. More or less connected with,and at times identical with, 
the dragged patterns described elsewhere. The glass threads are placed on the soft- 
ened surface of the matrix and then rolled into the matrix, smoothed down and even 


IgI 


polished by grinding. This technic is not confined to any special period. It was first 
in use in the XVIIIth Egyptian dynasty, about 1500 B.C. 

LAMELLATED THREADS AND BANDS. Thicker threads were flattened by 
rolling while semifused, and either incorporated with a matrix in the way of the 
thread technic just described or several bands were joined sideways. In the former 
"instance the viewer beholds a distinctly colored matrix under the colored bands. 
This was often combined with columnar rods, sections of them being placed on the 
surface matrix and rolled in—PI. 34. 

INCRUSTED MOSAICS. Fragments of glass were scattered over the surface of 
the matrix and rolled in, smoothed down and even ground down. The earliest use of 
this technic dates from the 8th century B.C.—PI. 36. 

STRATIFIED EYES. This was a technic first practiced in the XVIIIth and 
XIXth dynasties, and consisted of placing successive drops of glass on the matrix, 
the top one being smallest, the effect being that of an eye, or eyespot with rings. 
This technic was practically discontinued in the time of the later Ptolemies, and 
superseded by the columnar rod. 

GUTTA OR DROP MOSAICS. A type of the incrusted mosaic, the only difference 
being that in the gutta the incrustations are fused so as to appear like rounded 
drops. This type appeared in the time of Augustus but became common in the Ist 
century A.D. However, many fragments of this type are not antique but Venetian. 


UNITS IMBEDDED IN MOSAIC GLASS 


The ornamental units are imbedded in the matrix, either by mixing fragments of 
colored glass in the fused matrix of plain glass, or by fusing fragments so as to form 
a mass. Or bands were allowed to fuse in the matrix. It must, however, be noticed 
that in almost every instance that the writer has examined glass thus labeled in our 
museums, he has found the technic was quite different and that the bands were 
sections of stratified glass imbedded in the surface. The most interesting specimen 
being the white and brownish cinerary urn from Milan, now in the Metropolitan 
Museum, one of the most precious specimens of antique glass known. According to 
one or the other of these technics we can distinguish the following types of imbedded 
mosaic glass: 

TRINA OR LACE GLASS. Really a horizontal use of columnar rods. In this type 
we see threads and bands inside the matrix. Invented in the time of Augustus, it was 
perfected by the Venetians. It was common in English glass of the 19th century, but 
made without artistic taste, though with a perfect technic. 

WAVED RODS. Rods were bent by fusing into the matrix so that shadows are cast 
by the thicker parts. Probably exclusively Venetian, though specimens described 
as “antique”’ are seen in collections. 

GOLD-LEAF GLASS. In this type fragments of gold and silver leaf were mixed 
and fused with the matrix. All specimens seen by the writer were Venetian though 
dated “antique.”’ But few specimens are known. 


192 


IMBEDDED CRYSTALS. But few specimens known. The date is uncertain. All 
seen by the author were Venetian. 


MATRIX MOSAICS 


MATRIX MOSAICS. In this class the mosaic decorations penetrate the whole 
matrix, appearing both on top and below. According to the technic we can readily 
distinguish between the following types: 


AGGLOMERATED MOSAIC GLASS. The whole matrix is made up of fragments 
which reach both surfaces of the glass, and which form a real “breccia,” a variety of 
conglomerate often found in nature. This type of glass was common in the XVIIIth 


Egyptian dynasty, specimens of great beauty having been found in the Palace of 
Amenhotep at Thebes and at Lisht. 


MACULATED AND MARBLED MOSAIC GLASS. The whole matrix is made 
up of fused and stirred fragments of colored glass in a plain matrix. The result is an 
imitation of marbles and other minerals. 


ONYX GLASS. This is a type of the former made of various transparent and 
translucent particles of glass mostly in more or less concentric layers in order to 
imitate onyx, chalcedony and other silicated minerals highly prized in antiquity. 
Ancient writers claim that murrhina was imitated; if so, we must seek it in the 
“banded glass,” for instance in the beautiful cinerary urn in the Metropolitan 
Museum. 


STRATIFIED GLASS OR LAYER MOSAICS. This glass, which has already 
been described, is in reality an early type of mosaic glass made by a special technic. 
It consisted of fusing alternate sheets of glass of different colors, and by using slices 
of the ends, cut at right angles to the general surface, either as decorations or as 
matrices forentirevessels. In the Augustan era whole vessels were made of this glass, 
but a little later it was only used in combinations.—PI. 34. 


COLUMNAR RODS AS STRATIFIED RODS. The rods were used, without 
imbedding in any special matrix, by simply fusing the edges and afterwards forming 
them into a tube. This type has been already described as stratified rods.—PI. 43, 4. 


COLUMNAR MOSAIC GLASS. This is the general type of which the majority of 
mosaic glass was made during the early Roman empire. It is composed of three dis- 
tinct units: colored or plain rods of precious glass matrix, colored or plain plates of 
precious glass matrix, and the filling. These types formed the mosaic pattern, which 
was produced by placing rods and plates upright in a mould with soft clay bottom to 
hold it in place. When the pattern was made up, the vacant spaces were filled in, 
generally with rods, of a different color or uncolored, or with pulverized glass. The 
latter, however, was rarely used, on account of its tendency to form bubbles. The . 
majority of the mosaic glass contains only rods, the plates being used especially in 
representing lines and faces. The columnar rod came into use in the time of Augustus 
and has continued in use ever since.—Pls. 28, 31-36; Text Fig. 112. 


193 


GOLD-GLASS. Gold-glass sometimes enters as a unit in stratified and mosaic glass 
and on that account is mentioned in connection with the latter. It is well to recollect 
in this connection that we can distinguish several kinds of gold-glass according to 
the technic. A common characteristic is that the gold was applied to a glass surface 
and protected with a sheet of transparent glass, the ends being fused to prevent 
separation of the sheets. Instead of gold and silver, paint was used in the cheaper 
types. The principal divisions of this glass are: 

STRATIFIED GOLD-GLASS. When sheets of glass alternated with sheets of glass 
coated with gold leaf—Pls. 43, 45. 

GOLD-GLASS RELIEFS. When the pattern was first made in relief by means of a 
mould, and then coated with gold leaf and afterwards protected by a plain trans- 
parent sheet of glass. 

GILT TUBES. In this type a tube of glass was coated with gold leaf and protected 
by inserting it in a slightly larger tube. This was the technic used in beads. 
PAINTED GLASS. With or without protection of a transparent sheet of glass. 


ADDITIONAL NOTES ON MOSAIC GLASS UNITS 


Mosaic glass is an agglomeration of different units, arranged in a pattern, or 
casually mixed, and later fused so as to form a matrix. The fusion is often defective, 
hence the mosaic glasses when breaking often follow the boundaries of the units. 
Mosaic glass was always made in the nature of a pad, or as pad-glass, and as such 
was used in open, flattish vases; or was first rolled into a tube which was then blown 
to form a flask in the same manner as stratified glass. The units of mosaic glass in 
antiquity consisted then as now of rods, bands, plates and sections of rods. 
ROUND RODS. Round rods of glass were plain, colored or uncolored, or they were 
composites, each consisting of many parallel rods; or the rods contained spiral threads 
in their interior and hence were called trina rods. The rods when used in upright 
formation are called columnar rods. Or they were used horizontally, alternating 
with flat rod-bands, sections of rods or flat rectangular sections. The larger units are 
distinguished as rods, the thinner as threads. The latter were both used as decora- 
tions on the surface of the vessels and confined to the interior of the matrix. The 
composite columnar rods when made of opaque glass were ground down in order to 
show the inner details and bring them to the surface; or they were sectioned so as to 
show the inner structure on their ends which then formed the pattern. The marvel- 
ous minuteness of the pattern, often exhibited in our museums under a magnifying 
lens, was simply made by drawing out and elongating the rod, the details diminish- 
ing as the length increased —PI. 29. 

DIMINISHING THE COMPOUND ROD. The original length of the compound 
rod was generally about six inches; its width about half that. It was composed of 
perhaps hundreds of minor rods of different colors which had been arranged in a 
pattern, the latter formed by the flat ends of the rods. When fused, the chunk of 
glass was rolled out or it was drawn out by means of two iron plates with handles, 


194 


one attached to each end of the rod by fusing. The glass and the iron readily adhered 
together and the chunk could thus be lengthened and diminished in thickness by 
pulling. The relative position of the rods which formed the pattern was not materi- 
ally disturbed if care was taken not to twist the rod, and when finally cut in sections 
the pattern was found to be microscopic instead of gross. A pattern originally from 
three to six inches wide could readily be diminished to a width of three millimeters. 


RODS AND BANDS. Bands were made from rods in different ways—by passing 
them between rollers, by simply pressing, and by drawing them through a flat 
opening. Through the first and the second process the bands became streaky as if 
furrowed longitudinally. By neither process were they made perfectly flat and even, 
the center always remaining thicker, a characteristic of all the rods and bands of 
ancient mosaic glass which made the centers darker than the edges, as seen when 
they are viewed in transmitted light. Bands were also made by grinding down rods 
on two opposite sides, as, for instance, was the practice with trina rods, in order to 
bring the inner spiral threads to the surface. Vessels were made entirely of rods in 
various ways. The rods could be fused by their sides, and the resulting pad rolled up 
to form a tube. Or the rods were spread out funnel-shaped as by the Venetian glass 
makers. In mosaic glass, rods, bands, trina rods, plates, sections, and every other 
conceivable unit were alternated on a sheet of translucent glass fused to adherence 
and used as ordinary pad-glass for the manufacture of vessels of any type. When the 
units overlapped, the places which covered each other appeared darker, red over 
green and yellow appearing brown, as in the famous Vatican cupof lamellated technic. 
UPRIGHT PLATES. Much of the mosaic glass was made with upright plates 
alternating with rods. The technic consisted in placing the plates on a soft base of 
clay so as to form a pattern and filling in with upright rods of different colors. In 
this manner any figure, even a portrait, could be made. The next step was to fuse 
the whole and follow this up by drawing out the roll into rods or even threads. Cross- 
sections of the rods and the threads would then show the face, bird, or geometrical 
pattern in diminished or even microscopic size.—Fig. 112, IT, IV. 

A scroll could also be made from upright plates in two different ways. The plate 
could be rolled up on itself, like a paper scroll and cross-sections would then appear 
with a scroll in the center. Or short upright plates were arranged on a mould base in 
the form of a scroll, and the space between filled in with plain rods of any color. 
Cross-sections would then show a scroll. The two technics can be readily distin- 
guished from each other by viewing them with a magnifying glass. Those made of 
many plates possess little projections here and there, resulting from the edges of the 
plate having been imperfectly joined.—Fig. 112; Pl. 32. 


BUST PORTRAIT OF AN ORIENTAL POTENTATE 


Height, 1.75”. Mrs. W. H. Moore Collection. 1st century B.C. Apparently Syrian- 
Made in the technic generally called Ptolemzan, with minute details arranged 
with great precision and without disturbance during the process of diminishing the 


195 


atl 


Sk ae oe aK OR 


dd. D2: . ZW A 
a 0 OS Ww aS 


y Fin Oi 


eK Osewee 


Fig. 112. Units of Mosaic rod-glass.—Lotus seeds, seed heads with seed escapes, I—ends 
of upright, curved plates, [I—upright plates, curved, triangular, tree of life, 
square columns, III—plates and rods forming wheels, checkerboard, portraits, 
star beads, [V—wheels, stars, comets, flowers, V—petals, flowers, made of rods, 
VI—Augustan era, 2, d—tree of life, 6th to 7th century A.D., c—Venetian, e— 
Augustan, f, VII—comparison between moulded and mosaic types—moulded, 
Sidonian, 2, d—mosaic, Ptolemaic, lotus plants, ¢, g, VIII. 


196 


block. The tile is flat and ground plane and flat. It represents an Oriental, like a 
Kurd, with tall Kurdish or Persian cap under which descend long hair-locks around 
an oval face. The cap is yellow with green disk-like decorations; the hair fringe is 
red, but the three long hair locks which hang down the sides are made with alter- 
nating bars of opaque white, vermilion and black. The outlines of the face are gray 
black, with the whole set in a pale gray-blue matrix as a background to the picture. 
A very fine representation of the type figured by Kisa (Figs. 169-172), but of great 
dignity and seriousness in design. This art was probably originated and practised in 
Syria, not in Sidon and Rome. The motifs in this class are clearly Egyptian, often 
representing lotus buds and flowers, scarabs, ankh-crosses, flowers and trees of life. 
The portrait in the Munich Antiquarium (Kisa, 177, e) is of this same type as the 
Moore portrait. Portraits of a related type are also found on small spherical glass 
beads, about half an inch in diameter, often found in Egypt, each decorated with a 
row of two or more portraits of a lady, queen or deity.—Pls. 27, 28. 


MOSAIC PAD-GLASS CYLINDRICAL CUP 


Height, 3.53”; diameter, lip rim, 4.47’; base, 3’’. Mrs. W. H. Moore Collection, 
758. Ist century B.C. Syria—PI. 29. 

A cylindrical cup with flaring rim and rounded base. Matrix, deep violet brown, 
with opaque white rods, the latter arranged in sets, each containing three spirally 
connected rows of about twenty-five rods graded from the outer row inwards, 
Through stretching the pad, most of the rods are diagonally placed in the matrix, 
resembling comet tails, but the undisturbed arrangement is seen on the base. There 
are two concentric ground bands around the body. The whole was finished and 
reduced to size and form by grinding down from a thicker vessel. 


PLATE OF COLUMNAR MOSAIC GLASS 


Height, 0.7’; diameter of top, 10’. Mrs. W. H. Moore Collection. Ist century 
B.C.—PI. 30. 

A flat plate with beveled sides made of columnar mosaic glass ground to thinness 
and form. The units comprise a central rod surrounded by a ring of seven circular 
units, and two other distinct units. One consists of a yellow scroll in emerald green 
matrix of rectangular form. The other contains a central rod of opaque white-lined 
vermilion red. Surrounding it at some distance are eight yellow circular rods in 
dark violet matrix. Around them a circular general border of vermilion red, and 
outside of it a deep violet matrix of rectangular form. The whole is composed of 
about four hundred units. 


197 


LOTUS BOWL OF BLUE MOSAIC GLASS 


Height, 2.07’; diameter at rim, 4.9’’; base, 2.07”. Mrs. W. H. Moore Collection, 
752. Ist century B.C.—PI. 32, and Pl. IV. 

Semispherical cup of superb blue matrix of translucent glass with units of colum- 
nar rods, elements containing a central scroll of yellow around a central staff in a 
closed ring. Another series of units contains five minor yellow spirals separated by 
walls or bars, all somewhat confluent. Some are surrounded by upright white rods 
graded from small to large. The eighteen ribs end on a horizontal line about 0.5” 
below the rim. Their triangular upper ends form the shoulder of the cup as in most 
specimens of this type. 


CANTHARUS CUPS OF MOSAIC GLASS. The semispherical cup is with or 
without a foot stand. The rim is strongly marked, flaring outwards. Some are made 
of columnar mosaics, others of lamellated sections. Some are decorated with fused 
strips of stratified glass.—PI. 33. 


CUPS OF LAMELLATED GLASS. ist century B.C. Cantharus cups made of 
sections of lamellated units, of composite flattened rods and here and there with 
plain squares of thin sheets of glass, all superposed on a more or less transparent 
matrix, are among the show pieces of ancient glass. The cantharus in the Vatican 
museum, Egyptian department, is especially beautiful. Many fragments of such 
glass were found in Rome, Pl. 35, the central figure from the Metropolitan Museum, 
is a related type. 


LAMELLATED BOWL PLATES OF THE AUGUSTAN ERA 


Until now no specimens have been found in Syria, but some in Italy and Gaul. 
Innumerable fragments have been found in or near Rome. This type includes the 
Hellange cup in Luxemburg (Kisa, Fig. 213, pp. 520, 524, 587); the Trier plate 
(Kisa, Fig. 2095, p. §27), several in the Metropolitan Museum and a few elsewhere. 
The elements are sometimes arranged to form a cross, sometimes they are parallel. 
The type is closely connected with similar cups made entirely of rods or rods and 
bands. The present-day Venetians imitate the type and some have been sold as 
antique though they are quite modern. The antique ones are more irregular and lack 
the glaring, disagreeable colors of the modern work. In these vessels trina rods, 
plain rods, plain bands made from rods, and sections of squareand circular composite 
rods enter to make a brilliant decoration. The rim is invariably protected by a trina 
rod.—Pls. 34, 35. 

PATELLA SACRIFICIAL CUPS, MOSAIC ROD GLASS. Two bowl cups in the 
Mrs. W. H. Moore Collection, 3’” to 3.5” in diameter, made of composite mosaic 
glass rods, mostly secondary rods, yellow with red centers, or white scrolls mixed 


with floreate rods in blue and emerald green matrix. Augustan era. Syrian. Colored 
PieTy. 


198 


Plate 45. Stratified tubes, 1st century B.C. Syrian. Boston Museum, 4; Metropolitan Mu- 
seum, 4, c. The central specimen is made of rod scrolls of stratified glass.—See 


page 230. 


199 


Plate 46. Three-sided blown and moulded bottle, 1st century A.D., with relief figures of 
Silenus and Bacchus. Mrs. W. H. Moore Collection.—See page 232. 


201 


Plate 47. Three-sided blown and moulded bottle, the same as on Plate 46. The figures are 
Pan, Silenus and Bacchus. Ist century A.D. Mrs. W. H. Moore Collection.— 
See page 232. 


203 


Plate 48. The Dionysus beaker from Aleppo, Syria. Reduced size. 1st century A.D. The 
moulded figures are Pan, two nymphs, Bacchus. Fahim Kouchakji Collection.— 


See page 232. 


205 


PART VII. SIDONIAN ROD-GLASS, RITUAL, 
MOULDED, LOTUS CUPS; AND 
STRATIFIED GLASS 


ROD-GLASS VASES OF THE AUGUSTAN ERA 


PAD was made of parallel rods which were fused to adherence, after which 
the pad was pressed in a mould, or otherwise formed by hand. We can 
distinguish various kinds according to the quality of the rod, which 
could be monochrome, or with alternating and various colors, or made 

of trina glass. This type is related to the stratified rod-glass, but differs in that the 
pad was not rolled up into a tube, a circumstance which places the type close to the 
mosaic glass.—PI. 35. 


SIDONIAN ROD-GLASS CUP 


Height, 1.7”; width, 3.6”; foot ring, 0.4” by 1.8’. Mrs. W. H. Moore Collection, 
T27, 3st century B.C.—Pl. 35, 4. 

A small but deep cup without handles, lined with a rim of chrome-yellow threads 

in translucent glass. The colors of the rods are as follows, from top to base: one 
opaque milk-white, one pale blue-green, three milk-white, one pale dull greenish 
yellow, two translucent uncolored separated by thin Naples yellow, broad band of 
violet-brown, transparent narrow rods, a broader band of green-blue, a broad 
band of greenish lemon yellow, opaque white, two bands of violet-brown separated 
by Naples yellow overlapped by opaque white. Probably from Syria. The cup is 
thick and was ground to thinness both interiorly and exteriorly. In this technic is 
made the famous Trier bowl figured by Kisa, Fig. 205, p.527. The Trier bowl has 
additional bands of lamellated sections of columnar rod plates and plain rectangular 
sections. 
SYRIAN ROD-GLASS BOWL. Height, 3’; diameter, 5.8’. Found in Syrian tomb 
enclosed in a larger pottery bowl, and thereby entirely protected from oxidation, 
Made of violet reddish brown rods exteriorly decorated with drops of ivory-white 
paste glass. One of the best preserved antique glasses known.—PI. 36, c. 


207 


SIDONIAN MOULDED PAD-GLASS VASES 


The pad was formed in a plain mould or in a mould with an intaglio to produce 
designs in relief. All these vases seem to have been made for ritual service. We can 
separate several groups: Caput Vases, with single or double heads back to back; 
Ritual Libation Patella Cups, without ribs, the size of a hand; Patera Bowls, with 
moulded ribs, and larger than the former. 


SIDONIAN VASES WITH SINGLE OR DOUBLE HEADS 


A vase with one or both sides decorated by means of moulding with one or two 
faces was known in Greece several centuries before glass-blowing was discovered. 
The type, however, which is represented in glass cannot be earlier than the Ist 
century B.C., because the finest specimens are made of ivory paste glass, continued 
with modifications and with a steady degeneration of the general type until the 
4th century. ; 

The faces and heads represented those of Bacchus, Venus, Medusa, Eros, fauns, 
and even man, especially those with caricatured features. 


We can separate many types according to the form of the vessels, such as 
flattened or compressed cylinders, three-sided flasks, flasks with five or more sides, 
etc. Some of these are without neck, others have neck, mouth and lip rim. Others 
are in the form of a many-sided pyx or box-cup; others are columnar, some again are 
cut-off cylinders. The absence of a special base is the rule. 


Some few are made by blowing a bubble in a mould, others by pressing a pad in a 
mould composed of two or three units. The mould was generally made without place 
for the neck, which was added afterwards by free-hand according to the taste of the 
artisan. While the body of the vase was moulded in parts, the neck was never 
moulded but bubble-blown. The line of demarcation is generally distinct and in the 
form of a little ridge. 


GEOMETRIC SYSTEM 


The outlines of the vase form a rectangle repeatedly divisible in three equal parts 
both as regards size, form and proportions. The only rectangle of this type possible 
is the one named root-3 rectangle in the Hambidge system. The correspondence 
between the logical diagram and the design is, however, often vague. The lower 
part below the face, including the neck and breast, is confined in a first-division 
rectangle. There is just enough correspondence to show that the artist had a dynamic 
geometric conception in mind. 


SIDONIAN SACRIFICIAL CUPS; RITUAL CUPS 


This general type consists of open semispherical or truncate-spherical cupsof small 
size but too small to have been used for the household table. Another type is larger 
and flatter and might have been made for table use. We can separate them in two 


208 


classes according to whether they are plain or decorated. Or in three classes if we 
take the form and other characteristics into consideration. 


PATELLA OR PLAIN SACRIFICIAL CUPS. Made of precious ivory paste 
glass or of other, opaque or transparent, glass of finest quality. They are plain with- 
out decorations. 


LOTUS CUPS OF SEMISPHERICAL FORM. About as high as wide, made of 
the same precious glass as the former. The outside is nearly always decorated with 
ribs, banded before moulding. 


LOTUS CUPS OF FLAT FORM. Made of common uncolored glass or of mosaic 
glass. They are of much larger size than the former, and might have been made for 
table use. Of this type many have been found in Pompeii or with coins of Nero. The 
earliest are flatter, the latter ones are higher, but never as high as those of the 
second series. 

A common characteristic of all these types is that the mouth rim is more or less 
upright and narrower than the shoulder of the bowl. In this character they differ 
from all vessels made after their time. 


THE PATELLA SACRIFICIAL CUPS. The size is minute so as to fit the hand of 
the sacrificer, in the manner we see represented on reliefs, statuary and mosaics. 
Their use was that of holding the libation in the rites of the public and the house- 
hold gods. The best are made of opaque white or brilliant red ivory paste glass. 
Some are made of blue or green transparent glass while others are of mosaic glass. 
Those of ivory paste glass come mostly from Syria. In delicacy of form and technic 
they are unequaled by any other antique glass. They were produced by pressing a 
sheet of pad-glass in a mould, which when hardened was ground to form and size on 
the potter’s wheel or with a hard tool. Those of mosaic glass were first backed up 
with coarse common glass in order to hold the columnar rods in shape. This poor 
quality of glass was later ground away leaving the fine quality of glass in view on 


both sides. 


Cups of this type made of pottery have been found with coins of Claudius. Others 
seem to be earlier, and those of ivory paste glass based on the dynamic or Greek 
system of proportions are undoubtedly of the 1st century B.C. Compare Koenen 
XIV, 10, and Oswald and Pryce, Pl. XLIX. The identification was made possible by 
the finding of similar cups, identical as to both form and size, in the hands of em- 
perors and celebrants of sacrificial rites represented in statuary and on stele of the 
early Roman empire. They are of a size to comfortably fill the celebrant’s hand and 
seem to have been a specialty of that period, the Greeks having made use of much 
larger vessels for the same purpose. 


The cups with the best proportions are made of ivory paste glass. The cups made 
of mosaic glass are nearly as delicate. Those of plain glass show a continued degen- 
eration towards the 2d century, and after the beginning of this century the cups are 
made of blown glass generally furnished with an added collar, which detracts from 
the form, though more convenient for a firm grip of the hand.—PI. 36. 


209 


SACRIFICIAL PATELLA CUP OF IVORY PASTE GLASS 
Height, 1.65”; diameter, 3.45’’.. Mrs. W. H. Moore Collection, 728.—PI. 36, a, 6. 


Made of opaque white ivory paste glass. Both the outer and inner surfaces are 
glossy. The lip rim is slightly concaved. There is a narrow foot rim which was cast at 
the same time in one with the body proper. The diameter, twice that of the height, 
was based on two squares, but without proper interior correspondence between the 
actual form and the calculated and logical diagram. Syria. 


SIDONIAN SACRIFICIAL PATELLA CUP OF CHERRY-RED GLASS 


Height, 1.65” by 3.5’. Mrs. W. H. Moore Collection. 1st century B.C. 

Made of thick ivory paste glass of deep carmine cherry-red color in part cov- 
ered with a thick gray patina. Similar in form to the ivory-white cup already 
described but with slightly different proportions of the two main parts. The cherry 
red in antique glass is the rarest color, only used in the Augustan era. It differs en- 
tirely from the cinnabar red which was in use at the same time and continued during 
several centuries, long after the art of producing the vermilion cherry red had been 
lost.—PI. 36, c,d. 


SACRIFICIAL PATELLA CUP OF MOSAIC GLASS 


Height, 1.8’’; diameter at top, 3. 95 ’; base ring, 1.57’. Mrs. W. H. Moore Collec- 
tion, 751. Ist aie A.D. 

The matrix consists of columnar mosaic rods in either blue or green base matrix. 
Those in the green matrix contain two concentric rows of white or yellowish colum- 
nar threads in a yellow-brown matrix.—Pl. 36, g. 


SACRIFICIAL CUP OF COLUMNAR MOSAIC RODS 


Height, 1.52"; diameter at top, 3.65’; base ring, 1.55”. Mrs.W. H. Moore Col- 
lection, 650. Ist century B.C. 

The matrix is made of two decorative mosaic units, both set in transparent 
emerald green matrix which in direct light is olive green. The units have yellow 
centers and a vermilion core, and are surrounded by white upright satellites. The 
other units have white center and red envelope surrounded by chrome yellow rod 
satellites, in two concentric layers or rings in green matrix. Finished by grinding. 
Probably from Syria.—PI. IV. 


SACRIFICIAL PATELLA CUP OF MOSAIC GLASS 


Height, 1.6”; width at top, 3.7”. Mrs.W. H. Moore Collection. 1st century B.C. 
In form this cup is similar to other patella cups of mosaic glass, but the walls are 


210 


ground thinner than in most specimens. The units are columnar rods and cells, some 
in pale blue transparent glass matrix, others in emerald green transparent matrix. 
The whole is covered with a fine patina and iridescence. Syria —P1.36, d. 


RIBBED AND BANDED SPHERICAL CUPS 
Sidonian of the Augustan era 


The form is truncate-spherical with contracted diagonal neck in diameter nar- 
rower than the bulge. They are always banded and ribbed and the bands rise with 
the ribs, proving that the latter were made, after the banding, in a mould with 
cavities in which the ribs were produced by forcing the matrix into grooves. The 
fact that these small bowls are made of the most precious glass possessed by the 
Sidonians, such as deep azure blue, ivory paste and even emerald green, proves that 
they could not have been made in the 3d century A.D. as assumed by Kisa, p. 410, 
Fig. 218, etc., but belong to the period when such glass was made. The circumstance 
that some have been found in 3d century German tombs proves nothing relative © 
to their origin, because they might have been, and probably were, derived from 
robberies of older tombs. Kisa mistook the technic, saying that the bands were made 
by enamels painted on the surface (p.410); but on the same page he refers to the type 
as band glass, which is nearer correct. The bands were produced in the usual manner 
by winding round or flattened threads of glass around the body, which was then 
pressed in a mould. This process was most suitable to wide cups, but not as well to 
narrow bottles and flasks. The amphorisk of this type and technic was made from a 
moulded and ribbed tube, blown out in the manner of tube-blown glass in general. 
Most of the specimens come from Syria, and it seems probable that they were made 
in Sidon in the Ist century B.C.—PI. 37. 

Kisa, however, mentions and figures several specimens found in Germany: Fig. 
217, p.450, from Cologne; p. 410, Fig. 218, also from Cologne; and the two represent- 
ed in colors on his Pl. IV. The illustrations show clearly that these are not painted 
glasses, but banded and dragged, and later moulded in order to produce the ribs. 
The same error attaches to the two beads on the same plate. They, too, are dragged 
and not painted, and No. 5 is not Italian “filigran” technic but stratified glass. The 
beads belong to the 6th century, the stratified one and the two cups to the Augus- 
tan era. Kisa dates these specimens to the 3d century, which certainly is wrong. 
The type of glass they are made of is the same as the Sidonian ware of the Augustan 
era, and we must conclude that these and similar specimens were imported and 
originally, derived from older, 1st century B.C., tombs. On page 405 Kisa correctly 
describes the technic of the “fern pattern,” but on page 412 he speaks of it as made 
by “brush strokes.” That the bowl cups were actually dragged is readily ascertained 
by examining them with a magnifying glass. The ribs do not always coincide with 
the dragged rows or columns. 


2I!I 


IVORY PASTE CUP WITH BLUE BANDS 


Height, 2.07”; diameter, 4”. Mrs. W. H. Moore Collection, 742. 

Augustan era, Sidonian workmanship. Made of opaque white ivory paste pressed 
in a mould with grooves for ribs. Before pressing and before the ribs were formed, 
the body of the cup was wound spirally with opaque blue bands, which were raised 
with the ribs through being pressed in the mould. 

In some specimens the bands weredragged before moulded, but in such a way that 
the perpendicular strokes coincided with the fins and ribs. Pl. 37, a. The lower left 
illustration is best suitable for studying this technic. 


CANTHARUS CUP WITH CENTRAL INNER MINUTE BOWL 
Height, 0.7”; diameter, 3.8’. From Alexandria, Egypt. Mrs. W. H. Moore Collec- 


tion. 

A unique specimen, made of hard, ringing glass, violet-brown, interiorly lined with 
opaque white glass of somewhat bluish tint. The center of the interior of the cup is 
occupied by a minor spherical, truncate bowl. The exterior is decorated below the 
rim with spiral, opaque white threads. Judging from the matrix and the outer 
threads, this specimen is contemporary with the truncate spherical bowls illus- 
trated in Pl. 38. 


THE LOTUS CUPS; PATERA CUPS 


This name is now proposed for a large series of semispherical and truncate- 
spherical, or even flat, cups which are decorated with either lotus petals or with ribs 
which vanish on the lower part of the body. Some possess both the lotus petals and 
the ribs and in addition large lotus buds or seeds between the uppermost parts of the 
ribs and petals. This type of cup can be traced to early Ptolemaic cups of silver, 
(Pl. 39, a-d), which are quite typical of the oldest types. On the same plate (¢) is a 
glass cup of the Augustan era for comparison. On PI. 37 are represented five cups of 
so-called “banded glass” and one amphorisk. All are characterized by the con- 
tracted neck opening and the more or less set-off shoulder. The later, ist century 

‘A.D. cups, made of pad-glass or blown glass, moulded to form and decoration, are 
seen on Pl. 40, a-e. The 2d century cups of the same types are higher and coarser 
and less carefully formed, with ever widening opening, with a rim strongly sloping 
inward and downward.—Fig. 113, df; Pl. 41. 


THE DECORATION ON THE LOTUS CUPS. The corolla-like ribs and ridges 
which rise from the base of the cups and end abruptly on the shoulder were prob- 
ably derived from the lotus petals or corolla as seen on the Ptolemaic silver cups 
(Pl. 38), and before them on much older Egyptian objects, but especially on the lotus 
beads, as already mentioned. In some types the petals are contracted and merely 
outlined as ribs or fins. Their upper circumference was filled out with representations 


212 


of lotus buds and seeds, or the ribs themselves were greatly widened at the upper 
end and permitted to taper downwards as the area diminished towards the center of 
the base. All of these types are contemporary with melon beads and some are re- 
lated to the Pompeian beakers with their ribs, flutings, arches and lotus buds. The 
realistic type of lotus corolla with well designed petals in two rows, was common on 
silverware in the Augustan and Tiberian eras and is found on both the Boscoreale, 


SUOUWw VU 


Fig. 113. Sidonian libation cups, Augustan period.—Patella, a—banded lotus bowls, 4, ce— 
lotus cups, patera, d, e, f. 


the Hildesheim and other vessels of that same period. It is also found on the An- 
tioch chalice, on the base of the Seven-armed Candlestick, on the Arch of Titus in 
Rome, and on much of the silver found in Pompeii, as well as on innumerable 
painted vases on the walls of the Roman villas of the 1st century A.D. 


DIFFERENT MATRIX TYPES. We can separate the following lotus patera 
types: uncolored greenish tinted glass, with close or bold ribs; dark blue glass 
matrix, with bold ribs and above it a Greek fret; violet-brown glass decorated with 
fused-in strips of opaque white glass, separated by layers of blue, brown or any 
other tint in use at that time; mosaic pad-glass bowls with columnar rod elements, 
or with scrolls. The same type of patera was common in pottery and must have been 
widespread. Koenen dates those with a wide base to the Flavian emperors, Pl. XII, 
18-21, p. 86. It is, however, quite evident that of his examples Fig. 19 is the ear- 
liest and has nothing whatsoever in common with the semispherical specimen, 
Figs. 18, 20, 21. 

The patera bowls are among the most beautiful varieties of ancient glass. The 
most beautiful of all so far seen by the writer is the one of deep blue matrix with 
well separated ribs and with a bold, horizontal Greek fret in raised relief between the 
lip and the tops of the ribs. Deposited in the Metropolitan Museum by Mr. J. P. 
Morgan. 

LOTUS BOWL, PETALS IN RELIEF AND GROUND LINES. Moulded and 
based on root-3 of the dynamic symmetry (Fig. 94). A truncate pad-glass bowl 
with sigmoid outlines of the body, decorated with isolated groups of raised ribs in 
sets of four, and between them raised petals. Above two series of ground horizontal 
lines. Yellow translucent matrix. In this remarkable specimen every detail of the 
main decorations corresponds with the inner diagram. Syria. St. Louis Museum, St. 
Louis, Mo. Size: 5.9’ by 3.45” wide, 1st century A.D. Somewhat similar bowls, 
made of pottery, are described by Oswald and Pryce, Pl. LX XVIII, Fig. 5, early 
2d century. 

MOULDED CANTHARUS CUPS. At the base a low foot-ring. Two loop handles 
connecting rim and middle of body. One in Naples Museum is moulded with leaves. 
—PI. 62,4. 


208 


TUBE-BLOWN FLASKS—PLAIN GLASS 


The name has been reserved for flasks made from a sheet or strip of pad-glass by 
various technics. The pad was rolled up and formed into a tube and the base closed 
by either adding a case disk or by pinching. Or the strip of pad-glass was folded 
upon itself,which caused the base to be sack-like, or the strip was twisted and drawn 
to a closed point. This same technic in its various styles was also used in stratified 
rod-glass or in stratified strip-glass—PI. 42. 


PLAIN TUBE-BLOWN GLASS BOTTLE 


Mrs. W. H. Moore Collection, 695. Height, 3.45”. 

Made of plain blue glass first rolled into a tube. Form pear-shaped with in- 
wardly swung sides, widest at the base and slightly contracted below. A form similar 
to that of the oldest stratified glass bottles known.—PI. 42. 


ROD-TUBE GLASS 


This is the oldest type of vessels made from strips of glass. The technic consisted 
of fusing glass rods along their sides and forming them into a tube, which was later 
closed and formed into a bottle. By using alternate rods of blue, yellow, white and 
gold glass, beautifully striped bottles were made. When fused and formed the sur- 
face was ground down to proper thinness. Sometimes the rods were flattened before 
fusing, such glass approaching the stratified glass in delicacy. But few specimens of 
this technic are known. Their technic was never until recently understood. Kisa and 
other authors simply referred to them as striped glass. 

The first step in this process was always the same, and consisted in fusing the 
sides of several differently colored, parallel rods. The forming of the tube was the 
next step in the process. This was done in different ways. Either the pad produced 
by fusing the rods was folded upon itself into a tube, or it was twisted spiral-like into 
a tube. The decorations resulting from the coloring of the rods could be waved by 
turning the rods back and forth as they were made into a tube, or even after the 
tube had been made. A good example of this type of glass is that illustrated by 
Kisa, Das Glas, Vol. II, Pl. II. He, however, confused this type of glass with the 
late Egyptian core-wound glass among which this specimen is figured. Another 
specimen (Eisen, Art and Archeology) is preserved in the Museo Etrusco, Rome, 
in the Villa Julio—PI. 43, a. 

Tubes made of rods twisted back and forth are in the Museum of Fine Arts, Bos- 
ton, and in the Metropolitan Museum. Originally the neck and mouth flanges in all 
these vessels were of bronze, simply inserted in the glass tube (Pl. 45, a, from the 
Boston Museum, the other, c, from the Metropolitan). These are magnificent and 
wonderfully effective works of art, never yet equaled. 


The flask with bell-shaped body of the exact form as Fig. ¢, Pl. 42, but made up of 
214 


Plate 49. The Dionysus beaker, from Aleppo, Syria. Ist century A.D. Actual size. Fahim 
Kouchakji Collection—-See page 232. 


ons 


Plate. 50. Sidonian moulded glass bottles. "The temple series, 1st century B.C. to Ist cen- 
tury A.D, From the Metropolitan Museum; the central one from the Mrs. W. 
H. Moore Collection. Syrian.—See pages 234, 247. 


217 


Sine Md alas 


ee 


h 


Plate 51. Sidonian moulded flasks, Processional series. Syrian, Ist century B.C. to Ist cen- 
tury A.D.—See page 250. 


219 


“ 


Plate 52. Sidonian blown and moulded ritual flasks, 1st century B.C. to ist century A.D. 
Vase, jewel shrine and plate, 4; pine cone, pomegranate, grapes, a, c; trees of 


life, d; wreaths, e, f; Ornithopolis flask, g—See pages 252, 253. 


eal 


066 pares 


4 


B.C. to 1st century A.D 


e220, IT. 


1 ext E 


534 


Plate §3. The Argonaut vase. Sidonian, 1st century 
2545 


223 


af 


- 


Plate 54. Sidonian blown and moulded flasks. Scrolls and geometrical patterns, a, d, f. 
Compressed Pilgrims’ or hand flasks, 6, c, e-—1st century B.C. to 1st century 
A.D.—See pages 254,271. 


225 


parallel and bent rods of blue, green, opaque white, violet and gold glass in the 
museum of Perugia, Italy, has already been described by the author in Art and 
Archeology. Two similar flasks are in the Metropolitan Museum, one in the Gréau 
the other in the Moore Collection. 


STRATIFIED GLASS 


The stratified glass proper is distinguished from the rod-glass which it resembles 
by having been made of strips cut from a stratified pad made up of sheets of glass of 
alternating colors. 

The forms comprise flat dishes, tubes, flasks, pitchers and flasks with projecting 
fins. Probably other forms will in time be discovered. The technic naturally changed 
with the effect desired. The flat cups were produced by pressing a pad of stratified 
glass in a mould. The tubes were formed by twisting a strip of stratified glass so that 
it formed a tube, or a wide strip was folded upon itself. Vessels which possess beauti- 
fully looped decorations in the matrix were made by first folding the strips into 
loops, then fusing the loops into a sheet. The next step was to form a tube of the 
sheet and close the end by a single spirally wound strip. 

The artistic quality of the stratified glass surpasses any other type of glass known. 
Those who have not seen the finest specimens of this type can have no conception of 
the beauty that can be embodied in glass.—Pls. 42-45. 


STRATIFIED AMPHORISK 


Height, 3.35’; diameter, 1.5’. Mrs. W. H. Moore Collection, 666. 

Matrix deep cobalt blue, irregularly looped with opaque white, heightened by 
overlaid white threads. The form is that of an amphorisk without handles. It was 
never ground to shape or thinness.—PI. 43, a. 


AMPHORISK OF STRATIFIED GLASS 


Height, 3.5”. Mrs. W. H. Moore Collection. Made of three strips of stratified glass, 
one of the strips being folded on itself into a loop. The layers alternate opaque white 
and very deep blue. The two handles are also made of the same glass. The body was 
ground to form. A specimen characterized by an absolutely perfect technic. Sidonian, 
Ist century B.C.—PI. 43. 


STRATIFIED GLASS AND APPLIED THREADS. In some flasks made of 
stratified glass the outlines of the stratifications are often heightened by the appli- 
cation of white threads carefully rolled into the surface. This is more or less in 
accordance with the practice to make the base of the vase from a special strip of 
glass which sometimes was not stratified, but had to be decorated with applied 
threads, dragged to conform with the general pattern. At the same time the sur- 


227 


face margins of the stratified layers were dragged so as to conform with the waves 
produced by bending the stratified rods. The thread, however, could not produce the 
vanishing effects of the layers. 


STRATIFIED GLASS FLASK 


Height, 3.4”; neck, 1.4”; width, 2.2’; liprim, 0.9”. Mrs. W. H. Moore Collection, 
568. 

Opaque white and yellow stratified glass, from two separate strips, each bent into 
a loop, the two afterwards formed into a tube globularly enlarged with a blowpipe. 
After the body was enlarged the upper part was drawn out into a tubular neck. The 
final step was to grind the body down to thinness.—PI. 42, ¢. 


STRATIFIED MOULDED BOTTLE WITH FINS 


Height, 1.89’’; width, 1.6”. Mrs. W. H. Moore Collection, 545. 

Made of stratified layers of violet-brown and opaque white glass. A single strip 
was first spirally wound and formed. When blown into form it was pressed into a 
mould which contained deep creases or recesses into which the matrix was forced, 
resulting in a row of fins around the girdle —PI. 42, g. 


STRATIFIED MOULDED BOTTLE WITH FINS 


Height 2.5’; width, 1.8”. Mrs. W. H. Moore Collection, 546. 

Made of a stratified strip of violet-brown and opaque white glass rolled into a 
tube which was later enlarged by blowing in a mould with creases for the wings.— 
Pl. 42, 2. 


STRATIFIED BOTTLE 
Height, 2.5”; neck, 1.5’; width, 1.4”; lip rim, 0.6”. Mrs.W. H. Moore Collection, 


Made of a strip of stratified glass containing five sheets of blue, brownish yellow, 
canary yellow, celeste blue and opaque white glass. The strip was first folded on 
itself and looped, formed into a tube and its lower end enlarged by blowing —PI. 43,/- 


STRATIFIED GLASS BOTTLE 


Height, 2.9”; neck, 1.7” by 0.5”; lip rim, 0.67”. Fahim Kouchakji Collection. 

Matrix alternating layers of stratified blue and opaque white glass. Two loops and 
base spiral. The lower part of the strip was twisted into cup shape, the upper part 
twisted into a tube and drawn out to form a neck. The body was ground to thinness. 
—Pl. 43, d. 


228 


STRATIFIED TURBINATE BOTTLE 


Height, 4.2’’; neck, 2.1”; width, 3.7”; lip rim, 1”.. Mrs. W.H. Moore Collection. 

Of stratified glass, alternating sheets of superb blue and opaque white. The 
strips were first formed into five loops, each separate from the other, but fused 
by the edges to adherence. The next step was to roll up the pad into a funnel- 
shaped tube, and closing the lower end by a single strip of similarly stratified glass 
rolled into a spiral. The final step in the technic was to widen the body proper by 
means of a blowpipe. This is the most beautiful stratified vessel so far found. The 
vanishing layers of white and blue are most admirable, and the tint of the blue is 
unequaled.—PI. 44. 


SIDONIAN STRATIFIED GLASS PITCHER 
1st Century B.C. 


Height, 8.5’; width at shoulder, 4.5”; at base, 2.1”. Mrs.W. H. Moore Collec- 
tion.—Colored PI. II. 

This unique flask is made of stratified glass, by the method used in producing all 
other flasks of this technic. The glass was first stratified, then a tube was made of 
the size of the base of the flask, then the tube was enlarged by blowing with a metal 
pipe. Even the handle is made from a tube of such stratified glass, consisting of a 
stratified pad of glass rolled up around a core of common glass. The characteristic 
part of the flask is the foot, which is narrow, cylindrical and smoothed off. Only one 
vessel of this size and form is previously known, but that is a tube-blown pitcher 
made of plain glass decorated with common and ordinary dragged overlaid garlands. 
This vessel is said to have been found in the Danube. It would then be a part of ship- 
wrecked tomb loot, lost there by returning legionaries who must have secured it in a 
Ist century B.C. tomb in Italy, or more probably in Syria, the place from which have 
come the great majority of stratified glass specimens. 

The color is blue and white in alternating sheets, the white ones serving to heighten 
the blue. The blue tint is absolutely unsurpassed in charm, without being of that 
hard brilliancy of the later Roman glass. 


PITCHER WITH DRAGGED PATTERN. Closely related to the blue stratified 
pitcher, PI. III, is the one figured by Kisa, Vol. II, Pl. XI. This one is, however, made 
of plain glass decorated with dragged “‘bird-feather pattern.” Under the slender 
handle is a small moulded face mask. Found in Germany, and now in the Bonn 
Museum. 


SIDONIAN STRATIFIED GLASS CUP 


Height, 0.81’’; diameter, top, 2.8”; base, 1.35’. Mrs. W. H. Moore Collection, 
766. 


229 


Made of three doubled sections and two single sections of stratified pale blue and 
opaque white glass, made into a pad and pressed in a mould. The upper part, includ- 
ing the lip rim, is much wider than the lower base part. A very delicate and beauti- 
ful form. 

POINTED TUBES. Stratified glass and rods. Narrow tubes with pointed ends 
made of stratified strips or rods. Several are in the Metropolitan Museum and one 
in the Boston Museum.—PI. 45, 4. 


VASES WITH DRAGGED PATTERN. Vases with dragged pattern from the 
Augustan era are few in number, but of striking appearance. The best known is the 
pitcher figured by Kisa (Pl. XI) under the name of the “(CEnochoé with bird- 
feather decoration from Hausweiler.’ It is a pitcher of the same general form as the 
stratified pitcher, our colored Plate III. It is undoubtedly correctly described by 
Kisa (pp. 410, 480) as an importation of the 1st century. The small amphora de- 
scribed below is probably of the same date and interesting on account of the quality 
of the white glass applied as threads. 


AMPHORISK WITH APPLIED WAVED THREADS 
About ist Century B.C. 


Height, 4.5”. Mrs. W. H. Moore Collection. Probably core-wound deep blue ma- 
trix with two upper handles and pointed knob base. The applied threads are of 
opaque white glass of the same quality as in the best cameo vases, but the waving is 
not dragged but hand-waved. Probably Italian make. The technic suggests that 
perhaps all cameo vases were made in the same manner, and afterwards carved. 
The blue matrix was undoubtedly ground to form before the threads were applied. 
—Pl. 5, d. 


230 


PART VIII. SIDONIAN GLASS WITH MOULDED 
MYTHOLOGICAL AND SYMBOLIC FIGURES 


SIDONIAN BUBBLE-BLOWN AND MOULDED VESSELS 


ESSELS with the form of bottles, flasks, cups, etc., produced by blow- 

ing a glass bubble in a mould with two or three parts. The body is round, 

three-sided or six-sided. When the sides are separate and distinct we find 

a decoration confined to each side, sometimes separated by upright 
columns, and placed under an arch or tympanum. So far as we know, all the types 
are decorated with figures in relief produced by sunk areas in the mould. The ma- 
jority of the specimens are based upon a geometrical system, some upon the static 
system, others upon the dynamic, always with some coincidence of inner diagram 
and decorative detail. 

But few of the specimens are large; most are, in fact, quite diminutive, only a 
couple of inches high, or even less. The matrix is always of the finest types known, 
with colors sometimes imitating precious stones, such as emerald green, sapphire 
and ivory, etc. The character of the decorations, which represent sacred vases, 
circus emblems, palestra objects, victory prizes, etc., makes these vessels among the 
most interesting known. The following are the main types: beakers, cylinder cups, 
bottles and flasks. Special types: three-sided bottles with mythological figures, 
Pls. 46, 47. Beakers with mythological figures, Pl. 49. The temple series, six-sided 
flasks, each decorated with temple vase, Pl. so. Flasks with processional objects, 
such as torches, thyrsi,etc., Pl. 51. Victory flasks, with wreaths and victory emblems, 
Pl. 52. Flasks with floreate, geometrical, basket and scroll designs, Pls. 54, 55. Orni- 
thopolis flasks with birds; flasks with mythological designs, argonauts, golden fleece, 
etc., Pl. 53. Flasks with Jewish etrogs; Ennion and other signed flasks and cups, 
Pls. 56, 57. Cylindrical cups with Jewish emblems and objects, Pl. 58. Cylindrical 
cups with victory symbols, names, salutations, etc., Pls. 59, 60. 

TYPES WITH JEWISH SYMBOLS AND OBFECTS. The only Sidonian vessels 
which until now have been described and figured by Jewish archeologists as con- 
taining Jewish symbols are the ones with figures of grape clusters, pomegranates and 
pine cones. This identification is, however, undoubtedly incorrect, for these symbols 
pertain to the rites of Bacchus and Isis and in this instance are most likely purely 


231 


Bacchic. We have, however, another type until now left unnoticed on account of the 
apparently abnormal representations, and this no one has been able to attribute to 
its proper source. The moulded figures are irregularly spheroid with protuberances, 
spots, warts and minute rugosities. The only natural object possessing such form is 
the Syrian and Italian lemon, which in ancient times was sacred in the Jewish rites 
and ceremonials, and, I believe, is yet in use in certain places. It is found represented 
on the Jewish gold-glass of the 4th century A.D. and was identified by De Rossi 
and Garrucci as “etrogs,” the Jewish name for this fruit. 

This is, however, the first time it has been identified on Ist century glass. Its 
identification is undoubted in the opinion of the author, and its presence on this 
glass gives strength to the author’s theory that all the objects found represented on 
these minute vessels belong to a sacred ritual series containing temple objects, 
objects used in the sacred rites and in the sacred or ritual processions. 

Other Jewish symbols according to the author’s view are those on the ivory paste 
pyxis, containing sacred trees, the scroll of the Law and the buddings of the staffs ot 
Aaron and Moses.—PI. 58. 

The purely Jewish types of the Sidonian glass with symbols would be the follow- 
ing,as far as ascertained: flasks with vegetable life symbols, both Jewish and pagan; 
vessels with the Law scroll, Aaron’s staff buds, etc.; vessels with etrogs. 

Each of these types will be described later, the specimens being classified accord- 
ing to form, some being bottle-shaped, others cylindrical. 


SIDONIAN THREE-SIDED, BUBBLE-BLOWN IN A MOULD, BOTTLE 


Height, 8.2’; neck, 3.3’; body, 4.75’; diameter neck opening, 9”; across the fig- 
ures, 4.5’; base, 2.4’. Ist century A.D. Mrs. W. H. Moore Collection. Syria. 
—Pls. 46, 47. 

Uncolored yellowish tinted glass, translucent or transparent, bubble-blown in a 
mould of three parts. A three-sided cylinder with full-length moulded figures. 
Identification of the figures tentative. First side, man walking with a burden, per- 
haps Silenus carrying a wine skin. Second side, Bacchus with staff in the left 
hand, in the right a cup from which he waters a dog seated below. Third side Pan, 
in dancing pose. The heads of the three personages are indistinct as if they were 
veiled, possibly an accidental effect from the removing of the mould. One of the 
finest antique moulded glasses known. 


THE DIONYSUS BEAKER 
Sidonian, 1st Century A.D. 


Height, 6.5’’.. Found in the necropolis of Beroia, Aleppo, Syria. Owners: Kou- 
chakji Fréres, 1911; Friedrich von Gans, 1912, who valued it as one of the great 
glasses of antiquity and the gem of his collection; K. W. Bachstitz, The Hague; 
Fahim Kouchakji, 1926. Made of translucent amber-colored glass in a mould of two 


232 


parts, decorated with four moulded, upright, full-length figures in Hellenistic style. 
Closely related to the three-sided Dionysus flasks in the Giorgio Sangiorgi and Mrs. 
William H. Moore Collections. The figures in relief represent: a female bacchante 
with conspicuous flowing dress skirt, a narrow waist, the right hand holding the 
spirally curled end of a shawl almost exactly as the corresponding garments of the 
three seated goddesses on the ara pacis of Augustus. The next figure represents 
Dionysus or Bacchus in front view; the raised left hand holds the thyrsus staff; 
with the lowered right hand he pours wine from a cup to a leaping panther; over his 
left shoulder hangs the lion hide. The next figure is the god Pan dancing; goat legs; 
the two raised arms grasp and play the lyre; below him is a syrinx; the shoulder 
covered with a backward-flowing cape with radiating folds; face long with beard, 
pointed like that of a goat; head with horns and rays like the points of a crown. 

The fourth figure is a nude, a meenad dancing. In front of her a perpendicular 
grapevine with leaves and clusters in the zigzags. R. Zahn dates this beaker to the 
and century A.D., being unaware of the existence of beakers of the same exact form 
found in Pompeii—now in the Naples Museum, and in Sardinia—now in the Museum 
of Cagliari. And, as the two three-sided flasks with the same figures mentioned 
above are with certainty Sidonian of the time of Augustus, with figure like those on 
the ara pacis, we may with certainty refer all these specimens to the Augustan 
period.—Pls. 48, 49. 


THE TEMPLE SERIES—FLASKS 


The name is derived from the sacred vases depicted in moulding on each of the stx 
sides of the flasks. While the body is pear-shaped and rounded, the fields in which 
the vases are seen are more or less flat. Each space contains one vase, flanked by 
columns which latter support an arch with tympanum gable, always decorated with 
a large conical object. The bases of the flasks are decorated with garlands, pine cones 
and grapes. 

The flasks were blown in a mould consisting of three parts, all ending on a line 
with the apex of the arch which is strongly pointed. When moulded the neck was 
added by the artisan according to his individual taste, who thereby disturbed the 
dynamic symmetry in which the mould was formed. 

The circumstance that the forms of the illustrated vases are but six, rarely re- 
peated, and always succeeding each other in the same order, suggests that they 
represented sacred vessels in use in the temple, each standing under a tympanum in 
a niche or between columns precisely as depicted. What temple was actually repre- 
sented I do not know; but it is not unlikely that it was the temple of the Sidonian 
Venus, Ashtoreth. This theory is suggested because the cone standing in each tym- 
panum might represent the cone under which the deity was worshiped. It is 
known that several mythological deities were worshiped as a stone or cone fallen 
from heaven, and this might have been one of them. 

The flasks are all minute, averaging two inches in height. This is one of the most 


233 


remarkable series of antique glass, all datable to the 1st century B.C. The most 
precious matrix was used, ivory pastes in different colors, red and emerald green in 
translucent glass—PI. 50. 

In the diagram three specimens are illustrated in order to show the sequence of 

the sacred vessels and their respective forms. The latter varies but slightly in the 
different specimens. The vases in the diagram follow in exactly the order shown. In 
all, the writer has examined about 120 specimens, nearly all of which have been 
found thus far, and the sequence is always the same, with but few variations as to 
form. It will be seen that one of the forms is a crater or urn. Two seem to be jars, 
and two oil or wine pitchers.—Fig. 114. 
FIRST TYPE. First to left taken at random. A cantharus or crater to hold fruit, 
with low stem and narrow foot, as in use in the Ist century B.C. Two large conspicu- 
ous handles. Base sometimes decorated with a lotus corolla. The cavity was un- 
doubtedly used to hold fruits or sacred loaves. Possibly the fruit rested on a platter 
placed over the mouth.—Fig. 114, a. 


Fig. 114. Sidonian, Temple series, represented sacred vases. 


SECOND TYPE. The form is that of an amphora with foot-stand, or a jar. The 
base varies in the three specimens, but generally it is like that in the upper row. The 
form is more or less repeated in the fifth row. Holmos. 

THIRD TYPE. A wide jar with cylindrical neck and narrow foot. In the third 


234 


Plate 55. Syrian blown and moulded flasks. Basket patterns, J, c, 1st century B.C. to 1st 
century A.D. Mrs. W. H. Moore Collection. Metropolitan Museum, a, d, the 
latter with lettering, of uncertain date.—See pages 271, 609. 


235 


Plate 56. Ennion blown and moulded types. The upper one is signed. 1st century B.C. to 
Ist century A.D. Metropolitan Museum.—See page 271. 


237 


Plate 57. Ennion six-sided amphorisk. 1st century B.C. to 1st century A.D. Metropolitan 
Museum. A moulded cantharus is seen on the front side-—See page 271. 


239 


Plate 58. Sidonian pyxis of ivory paste glass with life symbols. Ist century B.C.—See page 
ee 


Oat 


Bees biy pts ia AR Oa 
m a ed, ery eS? 


’ ’ 
~ 
=! 
* 
+ ; 
= i 
‘: y 
é mh 
. oe = a 
“ e a 
Pi 
- 
’ 
. 
- 
. 
' 
a 
4 . 


Me 7 - — , 


.- = 
+ aged, 


Plate. 59. The Neikais glass goblet. 1st century B.C. to 1st century A.D. Fahim Kouchakji 
Collection.—See page 272. 


243 


a ot 
Ads 


" 
tp 


he 4 


pom ho can Oe 


eo , 
i 
A hy 

$ 


ton sty a 


- 


y ' Pa 
Aha 


Plate 60. Syrian and Cyprian victory cups and goblets, 1st century B.C. to 1st century A.D. 
The three larger cylinders are Sidonian, Mrs. W. H. Moore Collection. The 
smaller ones from Cyprus, Metropolitan Museum, are of greenish glass.—See 


pages 273, 274. 
245 


> 
At 


~ 
i> 
. 


row the body is fluted, but this is an isolated and unique occurrence. The vase holds 
fruit or loaves. 

FOURTH TYPE. A tall, slender wine or oil flask, but slightly varied in the different 
specimens but most generally, like the one in the two lower rows, each pitcher has 
a spout. 

FIFTH TYPE. Jar with narrow neck, and low narrow foot-stand. Holmos. 


_ SIXTH TYPE. Pitchers with more or less distinct spout, more or less repeating 
the fourth type. 

Artistically and archeologically these types are of interest on account of their 
date. All of the 1st century B.C. 
ATTEMPT AT IDENTIFICATION. Ina general way these vases must be such 
as were used in the Bacchic rites or in those of the Sidonian Ashtoreth. At least one 
of the vases can be shown to have been in use several centuries before the time when 
the temple series was made. This is the “holmos” used in the Eleusinian rites, as 
seen depicted on the scene with the idol standing on the table or altar. On each side 
of Bacchus stands a holmos vase of the same form as represented by the heavy, 
two-handled vase on the flask. Female attendants are in the act of mixing the wine, 
one pouring it into one of the two flasks or jars, the other one dipping it out by means 
of a trulla. Compare: Daremberg et Saglio, Fig. 2424, under Dionysios. Also Museo 
Borbonico, XII, Pl. XXI.—Fig. 114. 


OSE Ut 


Fig. 115. Sidonian, temple series type with six represented vessels in proper sequence. 


SIDONIAN FLASK OF THE TEMPLE SERIES 


Height, 3.13’; neck, 0.95’’; neck from top to mould mark, 0.8’; base ring, 
0.9’’; rim, 0.8’’; body from base to top of arch, 2”. 1st century B.C. Mrs. W. H. 
Moore Collection. 


247 


Material, bluish gray ivory paste glass, blown in mould consisting of three parts. 
Decorations produced in the carved mould represent six arches resting on Doric 
columns, and under each arch stands a temple vessel, probably in the manner seen 
in this particular temple. Found in Syria.—PI. $0, center. 


Fig. 116. Sidonian, Ornithopolis series with storks——In the center sits the guardian, 
announcer or augur. 


TEMPLE VESSELS WITH LOAVES. Average height about 3.3’; diameter 
about 1.6”. 

Made of ivory paste glass as well as translucent glass. The principal difference 
between this sub-type and the former is that one of the canthari is filled with 
three loaves, and that the two canthari are separated by two other vessels instead of 
by one only. For the forms see Text Fig. 114. The one measured is based upon the 
whirling-square rectangle, the body up to the tympanum occupying an exact 
square. Syria. Ist century B.C.—Text Fig. 115. 


FLASKS WITH LOTUS-CUP BASE AND RELIEFS 
OF RITUAL OBJECTS 


These types are characterized by having a petaled lotus-corolla base and in this 
differ from the temple series proper, in which the base is decorated with garlands, 
cones and grapes. The decorations are separated by columns which divide the body 
into six fields, each with a symbolic object or other representation—Pl. 52. This 
series contains various varieties, the following being the principal ones: Nesting 
birds and a seated guardian. Storks with nests of pottery vases. Ornithopolis 
flasks, Fig. 116; nesting birds without guardian, Fig. 117; processional objects, 
vases, thyrsi, patens, jewel shrines, Fig. 118. Always with handles, larger than the 
temple series. Jewish (?) symbols of trees of life, vases, fruits of the tree of life and 
a letter, Fig. 119. Palestra objects, vases, rings, wreaths, scrapers, Fig. 120. Isis 
and Bacchus symbols, pine cones, pomegranates, grape clusters, Fig. 121. Anthe- 


248 


mia and trees of life, possibly Jewish, Fig. 122. Etrogs or ceremonial lemons, zigzag 
wave on base, Fig. 123. 


ORNITHOPOLIS FLASKS WITH DECORATIONS OF BIRDS. Average height 
about 2.9’’; diameter, about 1.6’. Made of ivory paste as well as common glass. The 


Fig. 117. Sidonian, Ornithopolis series, nesting birds, mould indistinct. 


moulding in all specimens seen is very poor and it took considerable study to dis- 
cover that the reliefs represent birds, flying over or resting on nests, just as do the 
storks in certain parts of Europe when the population is intelligent enough to value 
their society instead of brutally hunting them. Some of these nests resemble pots, 
and lead us to assume that special pottery vessels were placed on the houses in order 
to facilitate the nesting. One of the figures resembles a seated guardian of the birds. 


| . Dc>o 
EA 
occa 
Mal eae ff =} 
amo 
cc 0 
da 
o—10 
ee 


Fig. 118. Sidonian, represented objects in the processional series.—Jewel box, c—sacri- 
ficial plate, d—crossed thyrsi or torches, f. 


The base of the flasks of this series is always fluted or petaled. The series, there- 
fore, belongs to the large group in which this characteristic is of importance. Above 
and on the sides of each tympanum isa spherical object, an egg, a fruit of life or some 
other object not yet interpreted. Syria, 1st century A.D., possibly sacred to Orni- 
thopolis, a town near Sidon.—Text Figs. 116, 117. 


249 


SIDONIAN FLASKS WITH PROCESSIONAL OBJECTS 


About 3.5” high, larger than the temple series, from which these flasks differ in 
always possessing one handle; the shoulder and base are petaled. The form is 
rounded, six-sided, each side separated from the other by an upright bar without 


Fig. 119. Sidonian flask with life symbols.—Probably a letter, f. 
capital or base. Matrix is generally translucent, brightly colored blown glass. 
Blown in moulds with three parts. The flasks are generally based on the dynamic 


symmetry, which includes both body, neck and handle, all having been included in 
the mould. The decorations are as follows: 


eSoll 
ei 


Fig. 120. Sidonian bottle with palestra objects and prizes, vases, rings, wreaths, scrapers. 


FIRST SIDE. Crossed thyrsus staffs; also identified as four torches held together 
so as to form a Greek chi (Stephani: Compt rendu de la Commission archéologique de 
St.-Pétersbourg, 1859, p. 91), “bacchus staffs” (Harrison: Themis, p. 200, Fig. 51; left 


250 


“kourete” holding the four torches). See also the Cumes vase, Daremberg et Saglio, 
Fig. 2639. Some have also been identified as scepters, and Kisa describes them as 
“double flutes” (p. 717). They often occur with a spray of poppy heads placed in the 
form of a bar across the center.—Fig. 118, /. 


Fig. 121. Sidonian bottle with grapes, pine cones, pomegranates, pertaining to the rites of 
Bacchus and Isis, separated by lotus stalks. 


SECOND AND THIRD SIDES. Each with a vase. The vase on side three is re- 
peated on side six.—Fig. 118, a, d, e. 

FOURTH SIDE. Poorly modeled objects best identified as jewel case or box. A 
Pan’s pipe has also been suggested, but the bars are only four, thus clouding the 
identification. Such jewel boxes are often represented on Eleusinian reliefs together 
with thyrsi, vase, plate, oxheads, etc.—Fig. 118, ¢. 


pb fli / 


{ ) 
D @) 


INIA NANTES NI 
e eS 
Ie ok | 
SONNE 


SE INGISE 


A SZ 
Fig. 122. Sidonian bottle with life symbols, possibly Jewish. 


FIFTH SIDE. Object a circular plate to hold the sacrificial meat. As similar 
platesare highly ornate, they can not be cymbals.—Fig. 118, d. 

SIXTH SIDE. A vase similar to that on the third.—Fig. 118, e. 

SIDONIAN FLASK WITH POSSIBLY JEWISH SYMBOLS. Flask of size and 
make similar to the Greek series with torches, but without shoulder corolla. The 


251 


arches are rounded and the base of the tympanum decorated with row of circles or 
bosses. The decorations seem to be Jewish, as we find by comparing them with the 
undoubtedly Jewish symbols of the 4th century glass, (a) Vase; (b) sacred tree; 
(c) undetermined, possibly a “lulab”; (d) almost identical with the lulab represen- 
tations of Jewish 4th century glass; (e) sacred plant; (f) unknown letter. 

This type is all the more interesting because but two certainly Jewish flask types 
are known from the Sidonian period, one being the pyx with the scroll of the Law. 
The sequence is always the same, but the symbols are subject to change. For in- 
stance, the vase is represented with or without cover or drinking cup.—Fig. 11g. 
The other Jewish type is the one with the etrogs. 

SIDONIAN SIX-SIDED FLASKS WITH PALESTRA OBFECTS. Height 
about 3.5”; diameter, about 1.65”. Fig. 115, a, 4, belong to different vases. 

A well defined type with petaled base; six sides, and an object pertaining to the 
palestra or gymnasium in each field. We can recognize two (gold?) rings, a wreath, a 


vat foYe} 9° 

°° (oe) es One o 8 
0° 000 0 O ° vee la: 
0° oo og ° 9° °° 


Fig. 123. Sidonian bottle with Jewish etrog citrons, in Syrian called Kabad, meaning livers, 
on account of their variable and curious warty forms. 


scraper, and two vases. Others are similarly decorated with vases possessing re- 
spectively one or two handles. Matrix in these flasks is either brown or violet, as far 
as we know.—Fig. 120. 


FLASKS WITH FRUIT TREES AND WREATHS 


A well defined type as regards the decorative symbols, which are alternating pine 
cones, grape bunches, and pomegranates, one in each field. The base is petaled 
either with pointed or rounded petals. The shoulder is decorated with arched tym- 
pani, each with a cone or conelike flame, too indistinct to be identified. The sym- 
bols refer to Isis and Bacchus. Between the arches of the tympani are floreate or 
birdlike, indistinct objects. Strange to say, this type is described in the Jewish 


252 


Cyclopedia and in treatises on Jewish archeology as “Jewish,” because found in 
Palestine. Some are made of ivory paste glass and undoubtedly belong to the Ist 
century B. C. (Gerspach: L’art de Verrerie, Paris, 1885, p. 78, Fig. 35. N. Y. collec- 
tion.) One is in the Curtis-Libbey Collection in Toledo. One figured by Kisa is from 
the Sambon establishment in Paris. Superb ivory paste glass.—Fig. 121; Pl. 52. 


SIDONIAN BOTTLE WITH ANTHEMION-LIKE TREES OF LIFE 


The type without handle is based on one square plus a half a square. The six sides 
each contain a floreate design, twice repeated. The two major designs are twice re- 
peated on the shoulder. There is a neck mark at the end of the mould. From base to 
shoulder line is a square, from that line to the neck mark is half a square. The diago- 
nals of the whole cross on the median line, on which line the arches also rest. Six 
arches, alternating curved and angular. Base with three concentric elevated rings, 
and a small central boss. Thirty fluid arches, or petaled corolla, at the base. White 
opaque ivory paste glass. Height 8.4 centimeters. Syria —Fig. 122. 


SIDONIAN FLASK WITH JEWISH “ETROGS” 


The form is related to the temple series. Each of the six sides or fields is occupied 
by what appears to be a fruit. The only fruit with such variations, full of irregular 
depressions and warts, the whole varying greatly in form, is the well-known etrog 
used in Jewish churches and in rites at a certain festival of the year. The moulded 
reliefs are very poorly executed and the form difficult to recognize. Etrogs are com- 
mon on Jewish gold-glass of the 4th century A.D. Metropolitan Museum and 
Curtis-Libbey Collections.—Fig. 123. 


SIDONIAN FLASKS WITH HORIZONTAL WREATH 


This type belongs to the “processional” series, possessing the same concave sides, 
with projecting shoulder and petalled base. The decoration occupies the whole 
central field and consists of a laurel or ivy wreath made up of two branches, joined 
at their bases and meeting on the opposite side of the flask with their tips. Laurel 
or ivy fruit sometimes alternate with the leaves. Some are of violet-brown, others 
of deep blue or even uncolored glass. Metropolitan Museum and the Curtis Collec- 
tion —PI. 52, e, g. 


SIDONIAN FLASK WITH WREATH. Fiasks with petaled shoulder collar and 
base. The three moulds are separated by thyrsus columns supporting a horizontal 
central tree and wreath. Stars and some other minor decorations. Kisa, Fig. 266, 
oy ha 
THE ARGONAUT FLASK 
Height, 2.3’’; diameter, 1.5’. Mrs. W. H. Moore Collection. 1st century B.C. Syria. 
A most interesting type until now known in two specimens, the best of which is in 


253 


the Moore Collection. It is made of yellowish amber-colored glass entirely covered 
with a snow-white, heavy patina, which, however, is not thick enough to obstruct 
the relief. The design is divided into two parts, one on each side of the rounded body, 
each corresponding to the half of the mould. On one side is the grove of Ares 
with a tree, resembling a laurel with oblong leaves and rounded fruit. On a branch 
hangs a water canteen. Below, on a rock, evidently near the shore, sits Phrixus in the 
act of holding the ram with the golden fleece preparatory to its sacrifice. Below are 
indistinct objects, possibly rocks and the sleepless dragon. The other scene represents 
the ship Argo, with a central upright mast, the sail drawn up to the top spar, from 


Fig. 124. The Argonaut vase, Mrs, W. H. Moore Collection. Development of design. 
Phrixus and the golden ram in the grove of Ares. The vessel Argo. 


which descend, to right and left partly crossing each other, long, straight ropes. At 
the bow of the ship stands Jason ready to jump ashore. In his right hand he holds a 
round shield, in the left a club or other indistinct object. In the stern sits the helms- 
man, designed on a much smaller scale. Below the vessels are horizontal crests of 
waves, a fish and an unknown object. 

The design is spirited and could only have been made by a Greek. The top of the 
bottle was broken off in antiquity at the center of the neck, which must have been 
twice the size and furnished with a lip rim and perhaps two handles like the other, 
but inferior, specimen known.—Fig. 124; Pl. 53. 

SIDONIAN FLASKS WITH GEOMETRIC DESIGNS. These flasks are related 
to the processional series. The shoulder with a petaled collar and the base with a 
similar but upright corolla. The central decoration consists of a continuous band of 
joined lozenge-shaped fields. The mould is of two parts. Handles are generally 
made of ivory paste glass, but the make of the whole is not equal to the temple 
series:--P 1. oc. 

SIDONIAN FLASKS WITH CENTRAL VINE SCROLL. With one or two 
handles, generally of ivory paste glass. Shoulder collar of long narrow petals; base 
with corolla of upright petals. The central decoration consists of a continuous vine 
or of tendril scrolls.—PI. 54. 


SIDONIAN FLASK WITH BASKET DESIGN 
Height, 3.6”; width,1.75’’. Mrs. W.H. MooreCollection, 757. 1st century B.C.—PI. 49. 
254 


Plate 61. Moulded Syrian gladiatorial and victory vessels, The cups with gladiators, from 
Gaul, Metropolitan Museum. The central flask, from Syria, Fahim Kouchakji 
Collection. 1st century B.C. to 1st century A.D.—See pages 274, 275. 


255 


‘igen 
cheat 


Plate 62. Vessels from Pompeii. ist century B.C. to 1st century A.D., a, 4, c, e; the large 
silver cup is from the Boscoreale find. Louvre. See pages 213, 278. For d, p. 289. 


257 


Plate 63. Blown and moulded beakers and goblets from Pompeii, a—c. From Syria, d.—See 
pages 290, 293. 


259 


' ’ 
a 2 , 
. 
‘a 
. » 
] , 2 
= . ‘ 
, i 
* ~ 3 ' 
la a 
‘ : ; 
{ 
» . 
| 
5 | 
. 
y 


Plate 64. The five upper flasks from Cagliari (Sardinia) Museum; the rest from Tripoli, 
Tripoli National Museum. Photographs from Professors A. Taramelli and Bar- 
thollini. 1st century A.D.—See page 314. 


261 


# 


Plate 65. 1st century A.D. glass 8S 
Barthollini.—See pages 2 


263 


Plate 66. 1st century A.D. glass vessels from Tripoli, Africa. Photographs by Professor 
Barthollinii—See pages 292, 314, 449. 


265 


Plate 67. 1st century A.D. glass vessels from Cagliari (Sardinia) Museum. Photographs 
by Professor A. Taramelli.See pages 278, 292, 314. 


267 


Plate 68. Glass vessels with gutta drops. 1st to 2d century A.D. Mrs. W. H. Moore Col- 
lection. Syrian.—See pages 293, 313, 317. 


269 


Slender flask of translucent uncolored glass. The whole bodyis ribbed, decorated to 
appear braided or woven, the only other decoration being girdle or wreath of laurel 
with leaves and fruit. The form is oblong, pear-shaped with added handle. But few 
specimens of this type are known.—Pl. 55. 

FLASK WITH PEAR-SHAPED BODY AND FLOREATE DECORATIONS. A 
Sidonian type related to the flasks decorated with basket design. One or two handles. 
Body moulded. Base with corolla of arches, two horizontal central bands of circular 
bosses,and between them connected broad bands of ivy scrolls with groups of three 
balls, like the fruit-of-life symbols. On the shoulder leaping dogs or other animals. 
Matrix greenish translucent glass. Ist century B.C. to Ist century A.D.—PI. 55. 
ENNION AND OTHER SIGNED SIDONIAN GLASSES. To the Sidonian 
period belongs a series of signed glass vessels of small size but with artistically 
moulded decorations and of delicate form and proportions, indicating Greek or 
Greco-Syrian origin. Many of these vessels have been discovered in Gaul and Ger- 
many and investigators have on that account been attributing them to native 
artists and artisans, without considering that the very same types have also been 
found in Syrian, Italian and African tombs. The circumstance that the majority of 
the vessels are made of the same or related types of glass matrix, not found in other 
glass vessels, upholds the theory that these vessels were imported into Germany 
and Gaul from some other place of manufacture. 

The glass matrix is mostly dull yellow or greenish, but sometimes also fine blue, 
some even of ivory paste glass, which could never have been manufactured in 
western Europe, but which was a specialty of the Sidonians and Tyrians. The de- 
signs are decidedly Greek and must have been executed or planned by Greeks or 
Greco-Syrian artists. 

The signatures are Greek as well as Latin, the following being the most common: 
Artax; Neikon (in time of Caligula); Eirenaios; Meges; Philippus; Asinius Philippus; 
Eugenes; Zethos; Ennion; Netkaic. 

Only few of the glasses are entire; but from the fact that they show relationship in 
some points to the Sidonian vessels of the time of Augustus and Caligula it is safe to 
date the series to the Augustan era and influence, a period which included the latter 
half of the 1st century B.C. and the early half of the 1st century A.D.—Pls. 56, 57. 


IVORY PASTE GLASS PYXIS WITH COVER—JEWISH EMBLEMS 


Height with cover 3.1’; body proper 2.4”; diameter of cover 2.5’’; of base, 2.2’. 
Mrs. W. H. Moore Collection. 1st century B.C.—PI. 58. 

Made of ivory paste white opaque glass, blown in a mould. Cylindrical, with 
pointed cover, but with flat top. The top decorations consist of eight connected 
anthemia and three concentric rings of unequal thickness. The body is eight- 
sided, with four repeated symbolic and decorative designs, each placed between two 
columnar uprights with base and capital. Six of these compartments are covered 
with alternating pointed or rounded tympani. These designs seem to represent 
Jewish objects, from left to right: 


271 


Disk with partitions like the clefts in an orange. Probably represents one of the 
shewbreads said to have been kept in two piles or heaps on a table in the temple. 
The partitions are of unequal number, ten in one, eight in the other. In one the 
central boss is entire, in the other it contains a cavity. 

Anthemion, consisting of a central upright, two curved side leaves and a bow- 
shaped stand. Probably a life symbol derived from the Egyptian lotus, similar to 
those represented in mosaic glass, of which a text figure is given for comparison. Bud 
of Aaron’s staff. 

A lozenge-shaped four-sided shield with a central ring and a bossed center. At 
each angle is a knob. This figure does not stand under a tympanum like the others, 
but is higher and reaches to the very top of the columns. The same figure is found on 
4th century glass flasks, where the writer assumes it to represent the book cover of 
the Old Testament, or the Old Testament itself. The design seems to represent the 
slightly opened scroll of the Law, one upper and one lower side picturing the upper 
and lower edge of the scroll, and the two other sides the rolled-up beginning and end 
of the scroll. This is not evident in this specimen but the writer has seen another 
in which two sides were thicker than the other and capped by a knob at both ends. 

A candlestick. This interpretation is uncertain, but seems probable. The same 
design is found on Jewish gold-glass. There were two-armed candlesticks of silver in 
the temple. The form might have been derived from an Egyptian lotus symbol. 

The lamp and the anthemion, nature symbols of light and life, occur on several 
Jewish monuments and especially on tombs in Palestine, and probably had refer- 
ence to real objects seen in the temple. The Jewish nature of the symbols is deter- 
mined by the lozenge-shaped object which, as stated, is common on the Jewish glass 
of the 4th century A.D. The pyxis was probably made by the same Greco-Syrian 
artists who made the temple series and the victory cups. 


THE NEIKAIS RELIEF GOBLET 


Height, 8.5 cm.; diameter, 6.8 cm. Owners: Fr. v. Gans, Frankfort a. M.; the 
Bachstitz Collection; Fahim Kouchakji. Pl. 59. From the necropolis of Beroia, at 
Aleppo, Syria. Uncolored glass covered with silvery patina. 

Blown in a mould of two parts. The Greek inscription is in two parts, each of two 
words, one above the other: 


MNHCOH—remember NEIKAIC—Neikais (the artist) 
O ATOPACAC—the buyer EILOHCEN—made it 


Three of the four words are variants of the rule. Neikais is supposed to stand for 
Neikaios; MNHCOH is correct; EIIOHCEN stands for EMOIHCEN; O stands 
for Q; and ATOPACAC is written by ENNION, who used the same formula, as 
ATOPAZON. It is supposed that the formula reads “Buyer! Remember Neikais 
made it.” Two other goblets with the same inscription in varied spellings are 
known, but made by two different artists: One by Meges, found at Marium in 


272 


Cyprus, now in the Metropolitan Museum; and one by Iason, now in Cologne. The 
two parts of the inscription on these goblets, as well as on various other types, are 
separated by upright palm branches covering the joints between the moulds. The 
Neikais goblet is the most artistic of the three specimens known. The artist seems to 
have been Sidonian. Compare: Froeher, Verre antique de Ja coll. Fr. v. Gans, Paris, 
1913; Verrerie antique coll. Charvet, p. 135; Reoue arch. XXIX, 1875, p. 99, Paris; 
R. Zahn, Coll. Bachstitz, Vol. I1, Pl. 60; Kisa, Das Glas, p. 708, 923, 967; Dresser, 
Corpus inser. gr. lat. XV, 4; Colonna Ceccaldi, Mon. ant. de Chypre, p. 208, 
708, 923-967. Letonne, Recuiel d. inser. gr. lat. d. PEgypte 11; Pedrizet, Mem. Soc. 
d. antiquaires d. France, LXV. 

CYLINDRICAL VESSELS WITH CIRCUS AND VICTORY EMBLEMS. 
These vessels comprise both cups and flasks. The body is cylindrical, moulded, some 
of pad-glass, others of blown glass. The decorations comprise circus scenes, victory 
prizes and emblems; triumphal objects; names and salutations. The quality of the 
glass is yellowish, greenish or ivory paste, the latter indicating a Sidonian or Syrian 
origin. Kisa enumerates twenty-four specimens of gladiatorial cups, the best bear- 
ing the names of gladiators known to have lived in the time of Caligula and Nero. 
The latest dated belonged to the first third of the 2d century A.D. Although these 
cups are generally labeled “Gallic” in our museums, there can be no doubt that 
they were made elsewhere and brought to Gaul with the Roman legions. The 
beakers found in Cyprus are mostly made of a special type of greenish glass not 
found in other vessels, but those of yellow glass are also known from that island. 


—Pls. 60, 61. 
SIDONIAN CUP WITH ANTHEMION 


Height, 2.15’; diameter of rim, 2.15’’; of base, 2.3”. Mrs. W. H. Moore Collec- 
tion, 731.—PI. 60, a. 

Made of deep blue glass, blown in a mould consisting of two parts, in which the 
base was not included, but made separately. The mould was placed directly on the 
base, and the cylinder blown in it. The decorations consist of connected upright and 
reversed anthemia, each being based on a root-2 rectangle. 1st century A.D. Syrian. 


SIDONIAN PYXIS CUP WITH COVER 


Height with cover 2.5”. Mrs.W.H. Moore Collection. rst century A.D.—PI. 60, b. 
A very perfect specimen with entire cover, the latter decorated with a petaled 
corolla. The cylindrical body is blown in a mould, decorated with a horizontal 
wreath of laurel twigs, with alternating leaflets and fruits on slender stalks. Syrian. 


SIDONIAN VICTORY AND SALUTATION CUP 


Height, 3.1”; diameter, top 2.85”; base, 2.65’”. Mrs.W. H. Moore Collection, 736. 
Ist century A.D.—PI. 60, c. . 
Made in three parts, base, body, rim, fused together after moulding. Decorations 


273 


were produced by a bubble-blown cylinder in a mould. The mould is in two parts, 
the joints representing upright trees with some branches at the top. Above the 
center is a wreath of palm leaves with olive fruits on stalks, diverging from uprights 
but meeting at the centers between them. Along the base runs a diagrammatic 
wreath of the same type but without berries, all the leaflets being parallel. The 
central device reads: “‘Rejoice and cheer up,” a not uncommon exhortation on such 
vessels. KATAXAIPE KAI EY®PAINOY—Good cheer and be happy. 

The matrix, in conformity with most similar cups, is of translucent slightly green- 
ish glass. The mould is based on a root-3 rectangle with some interior coincidences. 
BEAKERS FROM CYPRUS. Several small beakers are in the Cesnola Collection 
in the Metropolitan Museum. Their form is cylindrical; a slight base rim; some- 
times also a lip ring; decorations are simple and not very artistic, consisting of up- 
right sprays of broad leaves and scrolls with central leaves, bunches of grapes and 
other objects. The matrix is greenish, of a peculiar quality not duplicated in ancient 
glass from other places.—PI. 60, d-g. 


CIRCUS CUPS WITH GLADIATORIAL AND CHARIOT SCENES 


These cups are characterized by being cylindrical and by being made of a special 
kind of yellowish and greenish glass matrix, not found in other types. This suggests 
that they were made in certain localities and by a few families of artisans. The 
delicacy of the design, the fineness of the matrix and the proportions place them in a 
class with the victory cups, and point to Syria, and especially to Sidon and Tyre, as 
place of making. 

Most, perhaps all, authors refer them to Gaul, without taking into consideration 
the fact that cups of this type are also found in Syria and Italy and that it would be 
unlikely that persons living in Gaul would have been interested in the Roman 
gladiators unless they had seen them. This leads us to assume that the cups, instead 
of being made in Gaul, were brought to Gaul by Roman soldiers in the period includ- 
ing the whole of the 1st century and the first half of the 2d century A.D. According 
to the decorations we can distinguish the following types: gladiatorial contests with 
fallen and victorious combatants; chariot races; and cups with victory emblems 
and names but without human figures. All the specimens known in the time of Kisa 
are enumerated by him, pp. 726-751. One of the finest specimens is in the Sangiorgi 
Collection in Rome.—PI. 61. 


NAMES OF FIGURED GLADIATORS AND CHARIOT RACERS 


Columbus, a mirmillon in the time of Caligula, was vanquished by Thrax and 
afterwards, when recovering, had his wound poisoned by the emperor. 

Columbus, another gladiator, lived under Nero. 

Columbus was also the name of a gladiator overcome by Spiculus. 

Eutychius was a quadriga-driver in the time of Caligula, and rewarded by the em- 
peror with two million sestertii. 


274 


Proculus, lived also in the favor of Caligula, but was later executed by him. His 
name occurs in the gladiatorial armory of Pompeii. 

Spiculus, lived in the time of Nero, became a favorite of the emperor; later executed 
by Galba. Thename occurs on the walls of Pompeii. 

Tetraites, vanquisher of Prudes, was represented on the beaker of Trimalchius. 

Prudes or Prudens, was a gladiator vanquished by Tretraites. 

Hermes, is mentioned on the walls of Pompeii, lived in time of Nero. 

Hermas, another gladiator is mentioned many times by Martial. 

Crescens, lived in the beginning of the 2d century A.D. 

Petraites, is assumed, but with question, to be identical with Tetraites. 

Merops, Hermes, Prudes and Columbus were vanquished by Gamus, Calamis, 
Tetraites and Spiculus. Of the less famous champions the names Ierax, Olympie, 
Antiloce, Crescens, Pyramus, Holes, Cucumbus and Aemilius are mentioned. To 
many names the letters “va” are appended, as for instance “‘Gamusva,” which makes 
it probable that these letters stand for va/e, meaning hail! One of the cups on 
which the champions Petraites, Prudes, Ories, etc., were recorded was found in 
Oldenburg. It was signed by the maker M. CICINIUS DICEUS. The misspelling 
of names would seemingly indicate that they were not made in the city where the 
contests took place. The art of the cups is with certainty related to that of Sidon, 
Ennion, the Arretine ware, etc., of the 1st century A.D. The same matrix of yellow 
glass is also found in Syrio-Sidonian glass of the 1st century A.D., but not in Gallo- 
Roman of that period. 

CYLINDRICAL FLASKS, NARROW CYLINDRICAL NECK. The moulded 
decorations are Greco-Roman. The anthemion and the garland, often separated by 
columns, are favorites. These types are continuations of the temple series of the 
pure Sidonian styles, but show Roman influence with more practical form and 
heavier matrix. The flask in Breslau Museum, Kisa, Fig. 269, belongs here. So does 
the beautiful Syrian flask —PI. 61. Fahim Kouchakji Collection. 

BULL OR HAND FLASKS. By Kisa called Pilgrims’ flasks. The form is cir- 
cular compressed, moulded in two half moulds. Necks narrow; two or more minute 
handles. The body is always circular and compressed from front to back. We can 
separate several distinct types. Front and back moulded with so-called Bacchus 
heads. Front and back moulded with a large star, or rosette. Front and back deco- 
rated with concentric rings, central boss, etc., surrounded by angular fields like the 
faces of a cut stone. The matrix is variously sherry-yellow, violet, but also opaque 
white ivory paste glass, which latter would date them to the time of Augustus.— 
Pl. 54. 

THE PRACTICAL USE OF GLASS DURING THE FIRST THREE PERIODS. 
The imperfect, though artistic, methods of manufacturing glass vessels during the 
first three periods of glass, made the production of large vessels difficult, and above 
a certain size, impossible. Hence the core-wound and the tube-blown glass was 
of a necessity restricted to articles of the toilet and the bath, or to ornamental 
trinkets; silver, gold and pottery being the usual table ware. 


275 


Of pad-glass we possess from that long period but heavy, clumsy and thick- 
walled cups and jars, which never could have been used extensively, lacking as 
they do decorations and artistic forms. 

The tube-blown and the mosaic glass cups were used principally, if not exclu- 
sively, in the sacred rites, being too small and too delicate to be practical for the 
table. The precise time when glass vessels of proper size and lightness of weight 
were made for domestic use is not known, but as many thousands have been found 
in Pomepii, Tripoli, Sardinia and other first century A.D. localities, we can be 
certain that none was made before the time of Tiberius and Caligula, or much 
before the middle of the 1st century A.D. 


276 


PART IX. FIRST CENTURY A.D.: POMPEII, TRIP- 
OLI, SARDINIA, SYRIA 


GLASS FOUND IN POMPEII 
LASS VESSELS FOUND IN POMPEII. The Museo Nazionale of 


Naples possesses the only well dated collection of 1st century glass vessels 
so far accessible. It is the only source we possess at present for a knowl- 
edge of 1st century A.D. glass and an approximately full series of out- 
line drawings of these vessels should, therefore, be acceptable to the investigator. 
For convenience these figures have here been massed in approximately classified 
sequence of form. Besides those figured, the Naples Museum contains many more, 


Hichinale 


aw Wie 
nHOUnOUCTY 


Fig. 125. Glass vessels from Pompeii, 1st century A.D., Naples Museum. Drawn after 
photographs taken by Sommer & Co, I, Jars and jugs; II, Beakers with moulded 
sides; III, Plain beakers, measures. 


included in a collection known as the “Collection of ancient Greek glass vases,” 
photographed by Sommer. Besides containing many types of the kinds described 
in the previous series, it also contains a few millefiori bowls undoubtedly of the 
Augustan era, and a Sidonian flask of the palestra series with horizontal wreath. 


277 


In addition to these vessels of undoubted antiquity, the collection includes a series 
of Venetian gutta glass, millefiori, and amphorisks with dragged pattern, some Per- 
sian and some 2d and 3d to 4th century vessels. The four urns illustrated in text 
Fig.127, are from this collection. The remainder require for classification, personal 
access and the handling of the investigator. They must, therefore, be passed over 
without further reference.—Pls. 62, 63; Figs. 125-130. 


SOB MORE 
AANA) AVE 


Fig. 126. Pompeian glass vases, Naples Museum. IV, Jars and jugs; V and VI, Amphorz 
and amphorisks, hanging vessels. 


CHALICES. The name “chalice” is given to many ecclesiastical vessels used in the 
holy rites, although it is evident that their form is derived from the cantharus and 
not from the calix. The latter derived from the corolla of the lotus flower. The name 
calix or chalice should, therefore, properly only be applied to vessels which recall the 
corolla of a flower, a vase of semispherical or truncate-spherical form. The Christian 
chalice type and form could not have been established earlier than the time of Con- 
stantine, and it seems probable that the early Christians used any kind of vessel for 
the eucharistic rite. Wilpert holds that the earliest chalice so far known is seen in 
the “measure” with two handles represented in the early 2d century crypt of 
Santa Priscilla in Rome (Wilpert, Pl. 15). Later the cantharus type was adopted; at 
least the majority of vessels identified as possible Christian chalices are of that type. 
We will return later to this subject when considering the 3d to 4th century objects. 


THE CHALICE FORM OF THE AUGUSTAN PERIOD. The peculiar and char- 
acteristic form of a whole series of vases of glass, pottery and metal of the Augustan 
era is well illustrated by the two specimens reproduced on PI. 62 from the Louvre 
collection of the Boscoreale find. The same form is found in the two Morgan cups, in 
the cup on the Arch of Titus in Rome, in cups on the wall paintings of Pompeii, in the 
Antioch chalice, in the Berthouville cups and in various other cups of the Augustan 
and Tiberian periods, but does not occur after the 1st century A.D. The form of the 
bowl part should be considered in the connection with the foot and stem and not 


278 


Piate III. PrrcHer oF BLuzt Gotp AND WHITE STRATIFIED Gass. AUGUSTAN 
Era. Mrs. W. H. Moore CouuEcrTION. SEE PAGE 229. 


Ey 
r 


Plate 69. Paper-thin glasses with buckled sides. 1st century A.D. to 2d century A.D. Mrs. 
W.H. Moore Collection. Syrian.—See pages 294, 295. 


281 


GES 


Plate 70. Implements of glass. Mostly from Pompeii. Metropolitan Museum. Stirrers, 
spoons, a pipe, scraper.—See page 296. 


283 


Plate 71. Two cups, Syrian types. Mrs. W. H. Moore Collection, a, . A cup measure, 
finished by grinding, Brooklyn Museum, from Pompeii, Ist and 2d centuries. 
—See pages 296, 314. 


285 


+ om | 


* 


Pac 


Plate 72. Bowls blown and with moulded shields and honeycomb meshes. Syrian. 2d cen- 
tury A.D. Mrs. W. H. Moore Collection.—See page 319. 


287 


separately. The characteristic feature of all such vessels is the relative proportions 
of bowl and stem, not the form of the bowl, which varied within certain limits during 
the same period.—PI. 62; Fig. 53. 

MINIATURE CHALICE OF PLAIN GLASS. This little vessel of glass is of? 
importance on account of its similarity in form to some chalices represented on the 
walls of Pompeii, to the two Morgan silver cups, to some of the Berthouville silver 
cups and to the Antioch chalice. Its technic is uncertain, but the fact that there is an 
inner accidental opening, the size of a large pin head, which connects with the nodus 
and stem, suggests that it is not bubble, but tube-blown. It is, however, very light 
weight and the walls are not very thick. Size 3.2” high. The foot is concaved in- 
wards. Made of greenish uncolored glass with pearly iridescence. Probably a token 
or a ritual cup. Probably from Syria.—Pls. 62, 67. 


ANGsate 


Aa Ocodae 
OSHOSoONTU 
ZSTVO= 


Fig. 127. Glass vessels from Pompeii, Naples Museum. VII, Various kinds of jugs; VIII, 
Lagonaria or water jugs; IX, Bottles and tubes—Lacrymaria or tear bottles—oil 
vials; X, Urns and plates. 


BEAKERS OF THE FIRST CENTURY A.D. 


These beakers are dated because they have been found in Pompeii, some in the 
actual place where they were used. We can separate several types according to the 
technic of the moulded decorations. 

1. Beakers made of moulded pad-glass with decorations of spiral flutings, laurel 


289 


wreaths, bosses, vines and grape bunches with birds and other animals.—Figs. 130, 
131. Pompeii. Pl. 63. 

2. Bubble-blown moulded beakers with lotus buds, lotus seeds, petals in diagonal 
rows, etc. Fig. 131. Syria, Italy —PI. 60. 

3. Beakers with applied decorations of lotus buds, lotus seeds, petals, rosettes, 
etc. Some of the decorations were moulded before application, others were hand- 


3h. ae 
OU WO UU ww 


in OI COS 
OnOte 


Fig. 128. Glass vessels from Pompeii, Naples Museum. XI, Cup, bottles, funnel; XII, 
Plain and moulded cups; XIII, Libation cups, lotas cups; XIV, Pitchers and 
jars; XV, Cinerary urns, The same types are found in Antonine tombs, probably 
being Ist century A.D., reused vessels. 


formed. The date of the last series is not well defined. Kisa states that some were 
found in Pompeii. The type probably extended into the 2d century A.D.—Fig. 132. 
Some of the beakers possess the peculiar moulded base so common in the Ist cen- 
tury A.D., others are without special foot base, or possess an applied foot-ring. 
AMPH ORI SKS. Amphora-shaped flasks with or without handles have been found 
in Pompeii, Syria, Egypt and central Europe. There is no characteristic known by 


290 


which the dates can be determined with certainty. They are generally of glass of 
common quality and from four to six inches high. Those with upright diagonal and 
conspicuous thumb guides on the handles are not of the Ist century, but should be 
dated later —Text Figs. 126, 133. 


SIDONIAN IVORY PASTE GLASS AMPHORISK 


Height, 3.7”; diameter, 1.7”. Mrs. W. H. Moore Collection. 1st century, A.D. 
Made of pale blue opaque ivory paste glass, of the same quality as found in some 
of the temple series and in the series with pomegranate and pine-cone figures. The 


HOMsalasac 
OH38sadso0e4 


00h et 
ede faints 


Fig. 129. Bottles and flasks from Pompeii, Naples Museum. XVI, Plain and double shoul- 
der, carinated, more or less funnel-shaped mouth; XVII, Ampulla pitchers and 
flasks; XVIII, Engraved and six-sided flasks—askos flasks—flask with lotus buds; 
XIX, Pilgrim flasks with dolphin handles. 


most interesting feature is the double-rim collar, which is of 2d century form. This 
circumstance throws some doubt upon the established theory that the double-lip 
collar was an invention of the Ist to 2d century A.D. and not in use in early 
Sidonian glass art. Even the upper surface of the lip is characteristically of the 
double-collar type with a concentric depressed ring separating the neck from the 


291 


applied collar. The collar part of the lip is flat, but the top of the neck is raised 
and rounded. Two small handles, as in the other Sidonian types, rest against the 
under rim of the collar. Undoubtedly from Syria—PI. 91. 


TUBES AND DROPS 


Throughout the Ist century we find minute tube bottles in the form of thin nar- 

row cylinders gradually tapering upwards from a purselike body, generally widest 
at the base. Some have been found with coins of Claudius, according to Kisa, and 
others in Pompeii (Kisa, pp. 380-383). They occur in all collections and are princi- 
pally interesting on account of their iridescence-—Fig. 127; Pls. 66, 67. 
LOW RITUAL FLASKS. Candlestick type. These flasks are found in all the early 
centuries of the Roman empire, but so far no rules have been recognized whereby 
they may be classified with certainty. Fig. 137 with triangular body in cross- 
section, said to come from Pompeii. 


AMPULLA BOTTLES OF BLOWN GLASS—BALL FLASKS 


The ampulle are pear-shaped or spherical bottles with a narrow conspicuous 
neck. They are plain or decorated, generally with spirally wound threads. The ear- 
liest have thin, delicately formed, funnel-shaped, but small, mouths gradually con- 
necting with the neck. The later ones, in the 2d century and after, havea heavy 
flange rim around the neck as ending of the mouth. Those with the small, funnel- 
shaped necks seem to be confined to the rst century A.D. The matrix is generally 
violet or blue, the decorative threads opaque white. They are found in Syria as well 
as elsewhere. The thread decoration was never extensively used until the 2d 
century and later, when the art of moulded decorations had degenerated in the 
hands of poor designers and bubble-blown had supplanted moulded glass.—Pls. 89, 
90; Figs. 129, 138. 


7 COMPRESSED SEMISPHERICAL AMPULLA BOTTLE 

Height, 3.5”; neck, 1.7’. Diameters: neck, 0.5”; bulge, 3’; base, 1.2’. Mrs. 
W. H. Moore Collection, 677.—PI. go. 

Decorated with one spirally wound opaque white thread. rst century A.D. 


PEAR-SHAPED AMPULLA BOTTLE 


Height, 5.4”; bowl, 3.4’; neck, 1.85’; diameter, 3.1”. Mrs. W. H. Moore Collec- 
tion, 726. Ist century, A.D. 

Made of thin, light bubble-blown violet-brown glass, now covered with a fiery and 
peacock-green patina and iridescence. Form pear-shaped, narrow neck slightly 
tapering to the base; at top a funnel-shaped lip. 1st century, A.D.—PI. go. 


292 


PITCHERS AND CENOCHO OF BLOWN GLASS. One of the first types of 
vessels to be produced in glass for practical purposes were the wine and oil flasks. 
Those found in Pompeii had slender handlesand neck, with delicately formed mouth 
and rim. Some rested on their own base, others had added foot-ring. In most in- 
stances the handles are round and sometimes even hollow. Some are decorated with 
superposed disks of Medusa heads. Those found in Germany, like the one from 
Hausweiler (Kisa, Fig. 201, p. 480), were undoubtedly imported from Italy or 
Syria.—Figs. 129, XVII, 136. 


Fig. 130. Moulded beakers from Pompeii, Naples Museum.—With grapevines, birds and 
rabbits, as in the Antioch chalice. 


UNGUENT FLASKS AND ARYBALLOS HAND BOTTLES. Round, spherical 
or compressed flasks, related to the “Pilgrim” flasks, used for unguents at the bath. 
Neck short, mouth wide, handles of the heavy type known as dolphin handles, used 
suspended by cords passed around the hand of the bather. Those with cup-shaped 
mouth are known as aryballos flasks, having been common in Greece. Made of 
moulded pad-glass, often decorated with engraved lines or moulded patterns. Ist 
and 2d centuries, A.D. In the 2d century superseded by “‘sprinklers.”—Fig. 134. 
DOLPHIN FLASKS AND BOTTLES. Named after the form of the handles when 
present. Slender flasks with slender necks, cylindrical body or prismatic sides. The 
handles join base of contracted neck with top of shoulder. Or the flasks are circular, 
flattened, or spherical with extremely low neck and wider mouths. When the neck is 
tall it is truncate without rim. Some have the shape of cups and small bowls. rst 
centuries, B.C. and A.D.—Text Figs. 129, 135. 


PRISMATIC FLASKS WITH OR WITHOUT HANDLES 


Flasks with four and six sides, low body and short neck, have been found in 
Pompeii. The handles are flat, thin and striped. Similar flasks have been found in 
Syria, Egypt and in central Europe. The latter probably belong to the 2d century. 
For the present we have no opportunity to separate the types and date them with 
precision. The earlier specimens seem to have shorter neck than the later ones. Some 
possess flat bottoms decorated with concentric, raised rings in relief—Figs. 127, 140. 
VASES OF BLOWN GLASS WITH GUTTA DROPS. This class comprises vases 
of various forms, some of pad-glass, others of thin blown glass, either colored or 


293 


uncolored. Their dates are not well fixed, but it seems probable that they belong from 
the 1st century B.C. to 1st century A.D. Their decorations are similar to those on the 
pad-glass urns, which with certainty date from the Augustan era, and the form of 
the amphorisks with gutta drops connects them with the later Sidonian vessels of 
the early part of the Ist century. 


00090000000 


Fig. 131. Beakers with lotus buds from Pompeiii—Moulded decorations—Italy, Louvre, 2. 


The matrix is often violet-brown, but also fine deep blue or uncolored. The drops 
which are paper-thin, and drawn on the neck, are mostly opaque white, pale yellow, 
or ochre brown. Pale blue drops are rare. The forms include amphore with flat base 
without foot ring, Pl. 68, 4; ball-shaped bottles with handles; cups with contracted 


Fig. 132. Beakers with moulded lotus buds.—Pompeii, a, c—from Italy, now in the 
Louvre, d. 


mouth region; and larger spherical amphorisks, like the fragment in the Terme 
Museum in Rome, Italy. The same forms are also found without drop decorations. 
Some of the amphora-type flasks possess a base drawn out in the manner of the 
stratified glass flasks, without additional base ring, a characteristic so far not found 
after the early part of the 2d century.—Pl. 68; Text Fig. 139. 


PAPER-THIN GLASSWARE—FIRST AND SECOND CENTURIES 


The main characteristic is that the matrix is light-weight and paper-thin to a 
surprising degree, entirely unknown in modern glassware. Another characteristic is 
that sides are buckled inwardly, sometimes a circular or oval buckle on four oppo- 
site sides, sometimes a horizontal row of buckles around the girdle of the specimen. 
But the most interesting fact is that similar vessels were also made with paper-thin 
walls, but of pottery instead of glass. Koenen mentions several, Pls. XII, 26; XVI, 
10-13. They seem to have begun in the middle of 1st century A.D. and continued 


294 


during several centuries. The thinnest are from the rst and 2d centuries, those of 
the 3d are thicker walled and heavier. The early ware is considered at present, the 
3d century ware will be discussed later —PIl. 69; Text Fig. 141. 


DUVOUYY 


Fig. 133. Amphorisks from Pompeiii—F rom Gaul, e, f. 


PAPER-THIN BOTTLE WITH BUCKLED DEPRESSIONS 


Height, 5.1’; diameter, 2.6”. Mrs. W. H. Moore Collection, 682. 
Made of paper-thin, uncolored, light-weight glass with twelve buckles around the 
girdle. Rather square body, narrow neck and funnel-shape mouth cup.—Pl. 69, 4 


y Ol 
SS Oj, 


Fig. 134. Aryballos oil hand flasks with dolphin handles.—1st century A.D., a—z2d cen- 
tury A.D., —1st century A.D., c—2d century A.D., d. 


PAPER-THIN BEAKER WITH BUCKLED DEPRESSIONS 


Height, 3.6”; diameter at top, 3.2’; base, 1.93”. Mrs. W. H. Moore Collection, 700. 
Uncolored glass with violet-gray patina, mottled without iridescence. Foot flange 
one with the body.—PIl. 69, a. 


HHeUSd) OF 


Fig. 135. Prismatic and other unguent flasks, 1st to 2d century A.D., Syria, Italy, Gaul, 
Rhine valley. 


PAPER-THIN GLASS JAR WITH BUCKLED DEPRESSIONS 


Height, 3.3’’; diameter, 2.6’. Mrs. W. H. Moore Collection, 696. 
Thin, light-weight manganese glass of violet color. Very dark brownish patina 
with some brilliant iridescence. These three vessels are probably from Syria. —PI.69, ¢. 


295 


STIRRING RODS, SPOONS, PIPES, SCRAPERS. An innumerable number of 
minor objects comprising needles, hairpins, ear-spoons, stirring rods, medicine 
spoons, pipes and scarabs are seen in museums and collections. They probably date 
from the time when glass was a novelty.—PI. 70. 


Ui, 


Fig. 136. Pitcher types of the Augustan era.—Pompeii, Hausweiler, Rhine valley, a, 3. 


CUP WITH CONCAVE SIDES AND DROOPING FOOT-FLANGE CUFF 


Height, 2.6”; body proper, 1.85”; top, 4’; body at center, 2.9”; shoulder, oe aad 
base contraction,2”; base ring orcuff,2.4’’. Mrs. W.H. Moore Collection, 676.—PI. 71. 


nA 


Fig. 137. Unguent tubes, 1st to 4th century.—rst century, a, f—2d century A.D., g, i— 
3d century, 7, A—4th A.D., /. 


Material: translucent light-weight green uncolored glass with green iridescence 
and green reflected light. 

Form: a wide cylinder, with inwardly swung sides, widening slightly at the 
rounded base, which is concaved upwards, and set over a base ring, with drooping 


Sohaadaa 


Fig. 138. Ampulla bottles, 1st to 2d century A.D.—1st, 2, c—2d century A.D., Syria and 
Europe, d, 4. 


and sloping outline. The lip-rim is distinctly and conspicuously turned outwards and 
some what flattened on top. The central part of the interior bottom consists of a 
wide, raised ring and a less raised central boss, all beautifully finished. 

The surface looks as if it might have been finished off by grinding. Claudian era. 


296 


Plate 73. Blown and moulded Caput cup with four heads of priestess or ritual masks. 
Syrian. Mrs. W. H. Moore Collection. Probably early 2d century A.D.—See 


page 319. 


297 


Plate 74. Caput bottles with Bacchus and Eros heads. 2d century A.D. Syrian. Mrs. W. 
H. Moore Collection, a, b.—See pages 329, 330. 


299 


Plate 75. Caput jar with faun head. Syrian. 2d century A.D. Mrs. H. O. Havemeyer 
Collection.—See page 330. 


301 


Plate 76. Caput flasks with Eros face, Syrian. 2d century A.D, Fahim Kouchakji Col- 
lection, a4; Antiquarium, Berlin, Germany, .—See page 329; Text Fig. 145. 


Bo5 


Plate 77. Libation flask, with face of moon goddess, Syria. Fahim Kouchakji Collection. 
2d to 3d century A.D. Syrian.—See page 330. 


395 


*. 


rie 
Vind 


Plate 78. Naturalistic flasks, 2d to 3d century A.D., grapes, fish. Caput flasks, 2d to 3d cen- 
tury A.D. The date flask, center, Mrs. W. H. Moore Collection; all others Met- 


ropolitan Museum.—See page 330. 


307 


i ie ‘ s : . 


Plate 79. Grape flask and grape jar. Mrs. W. H. Moore Collection, 4; Metropolitan Mu- 
seum, 4. Syrian.—See page 331. 


oY) 


Plate 80. Amphorisks, blown and moulded. Date uncertain, probably 2d century A.D. 
Mrs. W. H. Moore Collection, a; Fahim Kouchakji Collection, 4, c; both violet 
brown glass, Syrian. Tréves Museum, deep blue glass, d.—See page 331. 


211 


FUNNEL-SHAPED CUPS WITH LOW BASE RING 


The lip rim and the base ring are always low and narrow, generally quite flat, 
glass thin and delicate. The date is established by pottery of the same period, as 
figured by Oswald and Pryce, Pl. 51, Fig. 6, etc. Claudian era. 


Fig. 139. Blown vessels with gutta decorations, Ist to 2d century A.D.—Antonine pottery 
(Koenen), d—Terme Museum, Rome, g. 


loyvoabnvoou 
(7) 0 WO fil 5&5 es 


Fig. 141. Paper-thin vessels, 1st and 2d century.—Pottery after Koenen, XII, 26, a—the 
rest mostly from Cyprus, Italy and the Rhine valley. 


Bio 


FUNNEL-SHAPED CUP 


Height, 2.28”; diameters: top, 4’; base ring, 2.35”” to 2.4”; body above base ring, 
2.1', Mrs. W. H. Moore Collection, 674.—PIl. 71, 3. 


Tue 


Fig. 142. Measuring vessels, modius types, ae 4% in. high.—Brooklyn Museum, a 
e—Syria, Ist to 2d century A.D., 4, d 


MEASURES OF GLASS. Apparently made of pad-glass, of coarse matrix, gener- 
ally tapering downwards, always with a loop handle. Probably measures for liquids, 
the Latin “modius.” The form is apparently developed from the scyphus. All those 
examined by the writer came from Syria. There is quite a series of similar vessels in 
the Brooklyn Museum of Art as well as another in the Metropolitan Museum. The 
square ones seem to be earlier than the tapering. Ist century to 2d century A.D.; 
the absolute dates are, however, uncertain. In the text figure J and d are without 
question from Syria; ¢ and ¢ are in the Brooklyn Museum.—PI. 71, c; Fig. 142. 


CYPRUS, TRIPOLI AND SARDINIA 


CYPRUS. The Cyprus glass is known principally from the Cesnola Collection in 
the Metropolitan Museum. The sizes are smaller than the Pompeian glass and 
seem mostly imported. The circus beakers of greenish glass, 1st century A.D., seem 
to have been made on the island —PI. 60. 

TRIPOLI. A series of photographs of glasses from tombs in the suburbs of Tripoli 
shows types similar to those found in Pompeii, which are of Ist century A.D. date. 
They are characterized by a smooth sharp lip rim which, with Pompeian forms and 
the absence of mosaic glass,confirms the date. Tripoli National Museum. The types 
include beakers, cinerary urns, ampulla flasks, plates, crater urns, paper-thin glass 
and a few prochus flasks.—Pls. 64-67. 

SARDINIA. Photographs of glass from Tharros, Nora and Cornus National Mu- 
seums, Cagliari. The Tharros and Nora glass dates from 5th century B.C. as proven 
by the famous necklace of glass beads, now in the Louvre. There are also various 
core-wound amphorisks and alabastrons, typical of that period. The core-wound 
specimens are poorly made and hence considered as imitations. It is more probable 
that they are importations from Egypt. The glass from Cornus is so similar to that 
from Tripoli and Pompeii, as to satisfactorily establish the 1st century date. The 
cinerary urns are practically identical in the three places.—Pls. 64-67. 


314 


PART X. THE SECOND CENTURY A.D. PERIOD 
OF GLASS 


MAIN CHARACTERISTICS 


HE periods of antique glass merge into one another and nowhere is this 

more in evidence than in the 2d and 3d centuries. Some types were con- 

tinued from the rst to the 2d century, others from the 2d to the 3d. In 

time these transitions of one type into another will no doubt be well 
known, but at present this is only possible with a few of the most conspicuous. Un- 
fortunately the antique glass available for study, especially that from Syria, comes 
from robbed tombs in which the antiques were separated and scattered without any 
attempt at determining a date, for this was in most instances of no value either to 
the finder or to the collector. 

On the other hand a separate treatment of early and late variations of the same 
types is apt to cause confusion and tedium until the variations have been fully 
memorized. Because of the uncertainty of some dates, it has been thought best to 
describe these variations and varieties in one general group. Thus the paper-thin 
ware of the Ist and 2d centuries and the Bacchus flasks of the same period are here 
all considered as one unit. The types in this period are larger in size, and more prac- 
tical as regards form. At this time glassware is everywhere supplanting metal and 
pottery for household use, and so more attention is being paid to convenience and 
less to artistic quality. 

Throughout the period there is an advance in the art of blowing glass from 
bubbles, with the result that the older pad-glass and core-wound glass technics are 
neglected. The mosaic glass is hardly ever used for vessels, but is retained for beads. 
The purity of the uncolored glass is increased and reaches its highest excellence in 
the 3d century. A great loss to this period was due to the neglect of the moulded 
glass. In the beginning of the 2d century fine types were still being produced in 
Syria, but the innumerable reproductions of Bacchus heads, grape clusters, fishes, 
shellfish and similar naturalistic objects rarely possess any trace of that artistic 
quality which we so admire in the Sidonian ware of the Augustan era. 

The blue matrix retained its superiority, but the emerald green and the ivory 
paste glass lost their purity and never recovered until the time of Arab supremacy. 


315 


Not one single deep cherry-vermilion colored glass vessel has come down to us from 
the 2d century. Probably that art too, had been lost. No stratified glass was made 
in the 2d century, and as far as now known none afterwards. Cheapness, size, trans- 
parency, seem to have been the qualities most appreciated by the Romans and the 
world at large during this whole period. The greatest innovation consisted in the 
ever increasing use of glass-thread decorations with exaggerated designs. During 


Fig. 143. Pottery vessels, 1st to 2d century A.D., after Koenen. XI, 15, p. 80, Flavian 
emperors, 


the latter part of the period a new type of glass, called diatreta, appeared. This is 
admired today as the acme of technical glass-cutting, while subject to dispute with 
regard to the method employed for its production. 
THE DOUBLE COLLAR RIM. While the double collar rim is common on 2d 
century glass, probably it did not originate in that century. In the Museum of 
Naples are two patera cups with double collar rim of the same exact form as those 
we find in the 2d century; in the Mrs. W.H. Moore Collection is a small amphorisk 
made of bluish ivory paste glass, also with a double collar around the mouth. It 
thus appears that it was in use previous to the 2d century; but while it is ex- 
tremely rare in the Ist century, it is common in the 2d and 3d. Pls. 84-87, 91. 
During this period many parts of the vessel were exaggerated. The mouth was 


Wlaagaddat 
tale 


Fig. 144. I, Pottery and glass vessels from or near Cologne, Kisa, 372, 2d century A.D.; 
II, From Picardy, 2d to 3d century A.D. 


o%e 


made wider and funnel-shaped; the handles became larger and instead of connecting 
rim and body, connected body and the central part of the neck. The shoulder was 
emphasized, and bulges were added to the upper and lower part of the neck, or the 
shoulder was sunk so as to form a cavity around the neck instead of an even slope. 

The neck steadily increased in size until it came to be out of all proportion and 
constituted a curiosity or abnormality. 


316 


MAIN DECORATIVE FEATURES OF SECOND CENTURY A.D. 


THE GUTTA DROPS are not found with certainty after the beginning of the 2d 
century on glass vessels, but were retained for beads. 

APPLIED “SERPENT” THREADS made of rods and thick threads became 
common on glassware in the latter part of the century and were continued pro- 
fusely in the 3d century. 


VANISHING RIBS are found in this century. They were produced from a ribbed 
cylinder, tube-blown and drawn. The ribs were drawn out and the enlargement of the 
tube was thinned out towards the ends. 


BUCKLED DECORATIONS became common and were gradually adopted for 
thick glass. The art of making paper-thin glass seems to have degenerated after the 
middle of this century. 

CRENULATIONS were produced by zigzagging the rod or band, or by waving it 
like the back of a serpent, and by emphasizing the ridges by pinching. At first used 
on handles and their extensions only, it was later applied to the foot-ring, to the 
collar and to any other part; finally even the bulge of the body was pinched, pro- 
ducing minute fins and handles. Beakers with crenulated base and Bacchus and 
Medusa flasks with crenulated handles belong to the 2d and 3d centuries. These 
were perhaps continued later. 

THE HANDLES. Several types were invented and others which were rare in the 
ist century now became common. Thus the flat band-like handles with downward- 
drawn and extended points were frequently made. Crenulations were applied to the 
handles and their extensions. Handles were attached to the center of the neck in- 
stead of to its upper part and the flat thumb rest on their tops, which had previously 
been horizontal, was now put at an angle. The same variations were used in pottery, 
a circumstance which permits correct dating. Compare Koenen, XVI, Fig. 16. 
THE NECK often widens upwards into a cup and funnel, and a bulge is added to 
its base. The very wide, funnel-shaped mouth of flasks, bottles and jars came in 
fashion. 

THE BASE was elaborated into a stand or basering, some with crenulations. The 
narrow foot became wider. A large series of such vessels with foot stand and serpent 
decorations became characteristic of the latter part of the 2d century and were 
continued into the 3d. 

THE MATRIX became thinner and more transparent than in the older pad-glass, 
but the thinness of the buckled glass was not improved. Blue and green handles 
were used on bodies of plain glass. The ivory paste matrix and the ruby-red one were 
lost. The emerald green degenerated. 


THE SECOND CENTURY A.D. TYPES 


Continued from the 1st century are the paper-thin vessels with depressed and 
buckled sides and pad-glass cinerary urns. 


oti 


MOULDED PAD-GLASS AND BUBBLE-BLOWN GLASS VESSELS 

Lotus cups with ribs, plain and banded. 

Open truncate, spherical bowls, without foot or base, decorated with moulded 
rings, bosses, geometric fields. 

Open bowl cups with contracted shoulder and widening neck. Medusa and other 
heads. 

Amphorisks with handles, horizontally fluted body and neck. Without foot and 
base ring. 

Flasks representing natural objects, such as fruits, animals, helmets, hammers, 
baskets, shells, etc. 

Bacchus and faun heads. Caput flasks with narrow necks. 

Flasks representing tutelary deities, Tyche, and animals. Monkey playing syrinx. 
All with cylinder necks. 

Grape bunches. 

Bacchus flasks with wide neck. Caput flasks in general with wide necks. 

Date fruit flasks. 

Fishes, vase-form with cylinder neck. 

Moulded amphorisks with horizontal flutings. 

Moulded medallions of glass. 

Finger rings. 

Vessels with hard matrix, moulded flutings, and glossy surface. 

Ampoulla sprinklers with inner diaphragm. 

Ampulla vessels without diaphragm but with sprinkler form. 

Jars with rib flutings. 

Spherical jars with rounded base. 

Bubble-blown without a mould. 

Jars, pitchers, purse shapes. 

Patella cups with bracelet rim and high body, continued from Ist century. 

Cantharus forms without handles. 

Cylindrical beakers and goblets. 

Vessels with carved and applied lotus buds. 

Cantharus goblets with handles. 

Amphorisks. 

Prochus flasks. 

Pitcher flasks. 

Flasks with handle ending on the center of the neck. 

Mercury bottles. 

Cylinder flasks, stamnia, lagonaria jugs. 

Frontinus stamina. 


Ampulla flasks of plain glass. Vials. 
318 


MOULDED VESSELS, CUPS AND DISHES 


LOTUS BOWLS. RIBBED AND FLUTED BOWLS. According to Kisa the 
ad century bowls of this type, so common in the Ist century, are higher than the 
latter. Low bowls, however, were also in use. But the lotus bowls of the 2d cen- 
tury are coarser, thick and with heavier walls and nearly always of colored reddish 
glass. All the delicate specimens made of mosaic glass and thin matrix can be con- 
sidered of the Ist century. They come mostly from Syria.—Text Fig.97; Pl. 41. 
CUPS WITH FLUTED COLLAR BELOW THE RIM. BUBBLE-BLOWN AND 
MOULDED. Truncate spherical cups with a horizontal band of moulded flutings 
immediately below the lip rim and reticulated designs of shields and bosses, disks 
with concentric rings and four-sided fields with circular pits enter in the decora- 
tions. Syria.—Pl. 72. 

The date is not definitely settled, but they can not be earlier than 2d and not 
later than 3d century. Cups with ground-out, concaved decorations instead of 
moulded reliefs are known. 


MOULDED OVOID CUP WITHOUT BASE AND HANDLES 


Height, 3.7”; diameter, 3.3”. Mrs. W. H. Moore Collection. Syria —PI. 72, a. 

Material: pale yellow glass with scaly, magnificently iridescent surface. The form 
is truncate ovoid with slightly flattened base. Decorations moulded, consist of a 
broad band around the rim containing upright parallel flutings one inch in height. 
The main decoration contains squarish and deltoid fields of different size bordered 
by two larger and two smaller overlapping raised curved lines, in the way of gar- 
lands. They are crossed by the mould seam. In each of these fields, nine in all, are 
circular rings and a central raised boss knob. 

This vase is related to the one in the Gorga Collection in Rome, but in the latter 
the decorations are ground out and sunk, and the fields are of even size like halved 
hexagons. | 
TRUNCATE OVOID CUP WITH HONEYCOMB DECORATIONS. Height 
and width 4.5’’. Blown in a single mould. Mrs. W. H. Moore Collection.—Pl.72, d. 

The six-sided fenestration is unusually deep, and technically speaking this is the 
most perfect of the specimens known with six-sided cells graduated from base to 
rim, the largest being at the base. The rim is decorated with the usual horizontal 
band made up of moulded, upright parallel flutings. Pale yellowish green trans- 
parent glass. Found between Tyre and Sidon in Syria. 


* PRIESTESS JAR—MOULDED AMPULLA JAR 


SPHERICAL BOWL WITH FUNNEL OPENING AND FOUR RITUAL 
HEADS. Size, 4.9" by 3.7". Mrs. W. H. Moore Collection. Syria.—PI. 73. 
Ritual or libation jar, with four moulded heads, in ritual headdress, apparently 


379 


held down by means of a collar around the neck. The headdress is bounded by 
an oval frame or medallion resting on flutings arranged as branches of the tree 
of life, made of violet brownish glass, with small turned-over lip-rim. Date un- 
certain, but probably early 2d century. Related to the funnel-shaped sprinklers 
and to various jars of the same form but without decorations. One of the finest 
antique glasses known. 


TYPES OF NATURALISTIC REPRESENTATIONS IN GLASS 
AND GLASS FLASKS 


Female heads, double herm vase. 

Bust of Roman emperor. Capitoline Museum, Rome. 

Head flasks. Caricatures, Kisa, Figs. 303-305. 

Bacchus heads, mostly 2d—3d century A.D. 
Cherub heads with long hair, 1st—3d century A.D. 
Faun and satyrs, 2d century. 

Heads of Pan amulets, especially 5th century B.C., in the round. 

Sheep, elephant, hippopotamus heads, 5th century B.C. 

Doves, ducks, geese. From XVIIIth dynasty to 4th century A.D. 

Fishes. Pagan, 1st century A.D. Christian, 4th century A.D. 

Fishes in the round, amulets, 4th century A.D, 

Phallic symbols, fashionable in time of Commodus and Pertinax. 

Sea animals, mussels, worms, octopi, snails, etc. Mussels as flasks as well as in 
the round. 2d and 3d centuries A.D. Kisa, Fig. 313, p. 768. See also Vopiscus: 
Tacitus (who made such objects). 

Almonds, raisins. Augustan era and 2d century A.D. 

Figs. From sth century B.C. to 1st century A.D., all in the round. 

Small grape clusters, 1st century A.D. to 3d century A.D.Entire grape flasks mostly 
in 3d to 4th centuries A.D. Compare Kisa, Figs. 309-312. 

Helmet flasks, Kisa, Pl. VII, 2d century A.D. 

Hammers, Kisa, Fig. 77, 3d century A.D. 

Baskets, 4th century A.D. 

Boats and amorines, Ist century A.D., from Pompeii, Slade Collection, Nesbitt, 
p- 26. 

Lotus flowers, apples, plums, pomegranates, cherries, pine cones, strawberries, 
citrons, olives. (Oranges were unknown to the Romans.) 

Sacred vessels in the round. 4th century. The Biblical and Joseph of Arimathea 
vessels, 4th century A.D. 

Dolphins or Jonah monsters, 4th century A.D. 

Fishes, Ichthys-Christ, in the round, 4th century A.D. 

Protective deities. 2d century A.D. Flasks with cylinder necks. 

Monkey playing the syrinx pipes. 2d century A.D. Flasks with cylinder neck. 

Wild boar, flasks or in the round. 2d century A.D. 

Saddle flasks with handles. 4th century A.D. Sassanian. 


320 


Plate 81. Moulded flasks, Syrian. Date doubtful, 1st to 3d century A.D. With two wide 
and four narrower sides. Mrs. W. H. Moore and Metropolitan Museum Collec- 
tions, a, 4; Bachstitz Collection, c.—See page 331; Text Fig. 146. 


a2 


Plate 82. Tyche ritual flask. Represents the goddess T'yche, protectress of Antioch in Syria. 
About 3d century A.D. Mrs. W. H. Moore Collection.—See page 333. 


Oe 


Plate 83. Syrian glasses with hard, glossy and with difficultly oxidizing matrix. About 2d 
century A.D. Fahim Kouchakji Collection.—See page 333. 


325 


ot i ¥ 
- bs : 
pm 
i eal 
2 a : as 
w.] aa 
- ‘ 
* 
i 
Py 
! 
* 
‘ 
# > . 
La ‘ 
# 
- 
i 
, 
q 
. 
‘ ' 
’ 
i 
' 
‘ 
‘ . 
+ 
. 


Plate 84. Syrian glasses with hard and with difficultly oxidizing matrix. Fahim Kouchakji 
Collection. About 2d century A.D.—See page 333. 


227) 


CAPUT OR HEAD FLASKS WITH NECK 


Moulded flasks with the body in the form of one or two so-called Janus heads, or 
rather faces, back to back, facing in opposite directions. The form of the neck and 
mouth of the flasks varies: some possess a straight and short neck, others a low neck 
and others again a funnel-shaped neck. All blown in a mould of two parts. They are 
with or without handles, some having the handle bent at an acute angle. They are 
mostly without special foot, but when one is present it was apparently added to the 
moulded part after the flask was cast. The appended text figures give some concep- 
tion of the relationship of the forms and the size and proportions of the neck. The 
dating of the types is somewhat uncertain, having been in the main made to con- 
form with the dates of the coins found together with the glass. The numerals with 
the figures are therefore tentative. One or two may belong to the Ist century, but 
most are of the 2d. Text Fig. 145; Pls. 74, 76. 


Fig. 145. Caput or head glasses, 1st to 3d century.—Ist century A.D., a to d—all the rest 
2d to 3d century—Central Europe, 4 to d—the rest Syrian. 


BACCHUS FLASK WITH HANDLE 


Height, 3.5’; diameter, 1.95”. Mrs. W. H. Moore Collection, 693. 2d century 
A.D. Blown in a mould with added angular handle with two thumb guards. Deep 
violet, almost blackish glass; spherical body but with an elliptic base, 1 37 by 1.67". 
In making the flask the mould was placed directly on a base pad and then the bubble 


329 


blown in. The hair is designed as three rows of circular bosses, four on each side of 
the face and five on the forehead.—PI. 74, 4. 

A bronze vase consisting of a Bacchic head like some of the earlier glass heads is 
now in the Morgan Collection and dated to the 1st century A.D. by Stephen Pog- 
layen-Newall. (Ein Kopfgefass. Studien zur Kunst des Ostens. Gewidmet Joseph 
Strzygowski zum sechzigsten Geburtstage von seine Freunde und Schiilern. Pl. XXI. 
Vienna, 1923.) 


CHERUB-HEAD FLASK WITHOUT HANDLE 


Height, 3.2”; diameter, 1.93”. 2d century A.D. Mrs. W. H. Moore Collection, 
753.—Pl. 74,4. The body represents a head with two cherub faces back to back. The 
workmanship is excellent, design and general appearance cheerful. Hair drooping in 
ringlets in four tiers or strands down to the shoulders. In this it differs from the 
Bacchus heads, which generally have curly hair represented by bosses. The matrix is 
fine opalescent glass without color and quite translucent. The mould ends at or near 
the base of the neck, the funnel-shaped part having been added by the glass blower. 
FAUNS AND SATYR HEADS. The heads illustrated are of great interest be- 
cause the design is based on the dynamic symmetry. This characteristic they share 
with several other caput flasks of related types. This would either suggest a Ist 
century date, or a survival of the symmetry in sacred, or libation, vessels, far into 
the 2d century. The Havemeyer satyr head is, however, based on a square, but the 
vase, Pl. 74, is based accurately on the whirling-square rectangle, with full interior 
correspondence between measure and design. Both vases are from Syria.—PI. 75. 
LIBATION FLASK WITH MOON GODDESS HEAD. The circular form of the 
head suggests the moon face designed diagrammatically. The moulded part includ- 
ing the tall neck is based on a root-3 rectangle with some inner correspondence be- 
tween design and diagram. The form of the flask with its added diminutive foot is 
common in the 3d century, but might have existed in the 2d century. It is exactly 
the same as we find in some flasks decorated with serpent threads, the earliest of 
which are from the first half of the 2d century A.D.—PI. 77. 


FLASK FORMED AS A DATE 


Height, 3.86”; width, 1.15’; mouth, 0.5”. Mrs. W. H. Moore Collection, 722. 
Ist century A.D. 

Madeof yellowish brown glass,ina mould of twoparts; very thin walls, naturalist- 
ically corrugated so as to represent the large Egyptian dates found for a brief while 
during the month of March in the fruit markets of Cairo. In some of these flasks 
the mouth is short and funnel-shaped, in others it is longer and cylindrical—PI.78, 
center. 

GRAPE FLASKS WITH HANDLES AND NARROW NECK. Moulded flasks 
without foot-ring or base. The whole body represents a cluster of grapes. Neck 
narrow, slender, tall, lip and mouth funnel-shaped. One or two handles. According 


339 


to Koenen, Fig. XIV, 21, similar types made of pottery were found in Antonine 
tombs in Germany. Glass flasks of this type are dated by Kisa to the middle of 
2d century. This glass is often most delicate and beautiful. 2d century A.D.—PI. 78. 
ROUNDED GRAPE FLASKS WITH LARGE NECK COLLAR. These flasks are 
supposed by Kisa to belong to the 3d century A.D. and are thus later than those 
with naturalistic form. They are also larger, coarser and more regular. They are 
especially conspicuous on account of the large neck collar between the shoulder and 
the base of the neck. Made of uncolored, violet-brown, or deep blue glass. Some 
have been found in Germany, but most come from Syria, which suggests that all 
were made in Syria, some being exported to Germany or Gaul.—PI. 79. 


GRAPE FLASK WITH COLLAR FLANGE 


Height, 5.23’; diameter, 3’. Mrs. W. H. Moore Collection, 717. Syria. 

The entire body represents a cluster of grapes, bubble-blown, moulded in violet 
translucent glass. The main characteristic is the wide but thin collar flange surround- 
ing the base of the neck just above the shoulder of the body. The grapes in all similar 
flasks are arranged in diagonal rows, about eleven berries in a row. The shoulder 
flange seems to have been included in the mould. Kisa dates similar flasks to the 
3d-4th century, which seems somewhat too late. They must be contemporary 
with other flasks bearing the same conspicuous collar flange.—Pl. 79. A bottle 
exactly similar, comes from Syria; others have been found in German tombs near 
Cologne (Kisa, p. 774, Fig. 311, dated to 3d-4th century A.D.). 

FISHES AND FISH FLASKS, MOULDED OR HAND-FORMED. The whole 
flask resembles a fish. The opening when present is on the back in most specimens so 
far examined. The matrix is often polychrome with violet and brown fins, tail, 
bands, etc. Date given by Kisa for German tomb specimens, about 2d century.— 
Pl. 78. 

MOULDED HORIZONTALLY FLUTED AMPHORA. Moulded flasks, mostly 
with pointed base, with or without handles in old-style amphora form, but with the 
body designed with horizontal ridges and vales, like close flutings. Mostly of deep 
violet or blue matrix.—PI. 80. 

SIX-SIDED FLASKS WITH MOULDED DESIGNS. Small flasks with two 
sides narrower than the four others. The decorations on these four sides contain 
lotus buds or flowers with grooved stems. Those on the two narrow sides contain 
parallel, horizontal ridges, sometimes depressed along the center. Violet or deep blue 
glass. Syria. Date doubtful, but they seem related to the moulded glass, Pl. 81, of 
ad century.—Text Fig. 146; Pl. 81. 

PRESSED AND MOULDED MEDALLIONS OF GLASS. Large and small 
medallions of glass were common in the 1st and 2d centuries. They seem to be 
mostly copies from carved metal work. The Castellani horde of small medallions has 
already been mentioned and also his large Medusa head moulded and carved in 
opaque blue glass superimposed on a pad of cheaper quality. Most of the small 


Zak 


% 


medallions were used applied on bracelets and on the body of vases, especially under 
the handles. Rings of glass with moulded inset of glass of a different color were also 
in use.—Pls. 23, 25. 


FINGER RING WITH MEDALLION 


Oval, 1.4” by 1.1”. The whole ring from front to backis 1.2’. Mrs. W. H. Moore 
Collection. 2d century A.D.—Text Fig. 79. 

Material: greenish, uncolored glass covered with a thin, smooth, yellow ochre- 
colored patina, but not thick enough to conceal any details. 

The form of the ring proper is similar to one of gold, also from Egypt, with the 
cartouche of Marcus Aurelius. The portrait medallion is in high relief, made from a 
mould, the latter probably taken from a cameo. The work is excellent, representing 
a Roman lady as a priestess with long curled tresses of hair, crowned by grape 
bunches and two broad leaves. The neck with a necklace consisting of two rows of . 
spherical graded beads, the largest centered. The face is handsome with very small 
mouth.—PI. 25, e. 


Fig. 146. Six-sided flasks with two narrow and four wide sides. Date uncertain, Ist to 3d 
century A.D. Syrian. 


SEATED FIGURES, HUMAN PERSONAGES AND MONKEYS. These flasks 
resemble each other so closely that they cause us to believe that they were made at 
the same place and perhaps by the same artisan. But two types are known. 

Seated female deity, probably Tyche. A female figure seated on a square seat or 
throne. The arms are crossed over the breast under a cloak. On the left side of the 
throne is seen the moulded figure of a small Eros with wings, a torch in the left 
hand.—PI. 82. 

Seated monkey with syrinx. Kisa, p. 760, Fig. 307, describes and reprints one of 
five or six specimens from German and Picardy tombs of the 3d century A.D. The 
type is identical with that of Tyche, a seated figure, holding a seven-tubed syrinx. 
Kisa connects the type with the Egyptian monkey god, Anubis, Kynokephalos, 
which, since Hadrian, became the symbol of Hermes and Pan (Kisa, p. 762; Hora- 
pollo, I, 14, 15). The European specimens were probably imported from Egypt or 
Cyrenaica. 


332 


THE TYCHE VASE 


Height about 5”. Mrs. W. H. Moore Collection. Found in Antioch in Syria. 

Made of uncolored glass blown in a mould of two parts. It represents the goddess 
Tyche, protectress of Antioch, being a replica of the colossal statue of this goddess 
by Eutychides of Sikyon, the pupil of Lysippos, executed about the 3d century 
B.C. and reproduced in glass in the 3d century A.D. The same figure is represented 
on various coins of the period and is known from other designs. It is said by R. 
Smith that probably the Eros on the pedestal was added afterwards as it did not 
occur on the original monument. The same Eros has, however, been variously re- 
produced and it might have represented a standing statue placed near the Tyche of 
Eutychides. A copy in glass from what appears to be the same mould and by the 
same maker is in the museum in Berlin. See Amtl. Bericht. aus d. Kgl. Kunst- 
samml. (XXXV, p. 114, Fig. 53), 1913-14; De Ridder, Mon. Piot, XII, 1905, p. 55, 
Pl. VI; Friedrich, Jupiter Dolichenus, Progr. des. Kgl. Gymnasiums zu Custrin, 
IgII-12, p. 19. The Berlin specimen is described as unique, but at least two more 
are known. 

The foot of the deity appears to be resting on a vase or on the head of a child 
symbolic of the river Orontes. The right hand rests on the chair, the left is held across 
the chest; both are covered by the cloak.—PI. 82. 


AMPULLA JARS, SPRINKLERS, FLASKS, VIALS 
1st-3d Century A.D. 


VESSELS OF HARD MATRIX GLASS, GLOSSY SURFACE. A small series of 
different types evidently made by the same artist, characterized by the peculiar 
glossy surface untouched by oxidation, iridescence or decay. The color is deep violet- 
brown and the surface is always faintly fluted or ribbed. The types include cups, 
sprinklers and small wine flasks. All come from Syrian tombs. Probably 2d century 
A.D. In all likelihood they were made by one artist. The cup form PI. 83, occurs 
also in Pompeii.—Pls. 83, 84. 
MOULDED AMPULLA FLASKS AND SPRINKLERS. A large group of bulg- 
ing vessels. They are mostly blown in a mould and without foot ring; some are 
bubble-blown but others are of moulded and pressed pad-glass. The body is bulging, 
the neck low and the mouth wide. When the mouth is flat a concentric ring is gener- 
ally seen on its upper surface. They were probably used in the bath and contained 
unguents. Those with an inner diaphragm between neck and body, known as sprink- 
lers, may have contained rose water and other perfumes. We can distinguish the 
following subtypes or varieties.—Pls. 85-87; Fig. 147. 

Ampulla sprinklers with moulded disks and cross-hatched fields. 

Ampulla sprinklers with upright flutings. 

Ampulla sprinklers with parallel fenestrations or sunk rectangles. 

Ampulla sprinklers with diagonal rows of bosses. 


o35 


Sprinklers decorated with applied fins. 

Ampulla sprinklers decorated with parallel ribs. 

Ampulla sprinklers with crenuldted base ring and crested ribs. 

Ampulla sprinklers with serpent designs of applied threads. 

Ovoid ampulla sprinklers. 

Ampulla sprinklers with moulded rings.—Pls. 85, c, 86. 

All the sprinklers seen by the writer came from Syrian tombs, but the type must 
occur also elsewhere. The size is one adapted to being held in the hand, and the neck 
and mouth are wide so as to prevent slipping. The dates of the individual types are 
not defined but without doubt they extend over the 2d and 3d centuries. A cup with 
decorations containing depressed fields is dated by Kisa to the 3d century A.D. 
(Kisa, Fig. 168, f, p. 492) but without special reference. 


SPRINKLER WITH BRACELET COLLAR AND CRESTED RIBS 


Height, 4.3’; diameter with fins, 3.7’. Mrs. W. H. Moore Collection, 702.—P. 85. 

Uncolored, heavy, faintly tinted, yellowish glass. Metallic white to flesh-colored 
patina with green and yellow iridescence. Pear-shaped body with bulge near the 
base. A dentated foot-ring and four perpendicular dentated ribs or crests applied to 
the body. Between each crest a single tooth point. The upper part of the bracelet is 
ringed. The diaphragm is but 0.1” in diameter, almost a pin hole. Probably from 
Syria. 


OBLONG AMPULLA SPRINKLER 


Height, 5’’; width, 1.75’. Mrs. W. H. Moore Collection, 715. ad century A.D., 
probably Syria. 

Made of fine cobalt blue glass, heavy double lip rim collar, upper part of neck 
bulged. The body is decorated with spiral flutings and striations.—PI. 85. 
MOULDED SPRINKLER WITH PARALLEL RIBS. A common type of hard 
glass matrix with thick walls, mostly made of violet glass and sometimes with a 
turned-down collar rim. 3d to 4th century A.D. Syria.—Fig. 147; Pl. 87. 
AMPULLA BOTTLES WITHOUT DIAPHRAGM. Bottles of the same general 
form as the sprinklers are quite common in Syrian tombs. They are mostly decorated 
with ribs and are of the same types of glass, and with the same patina and irides- 
cence as the sprinklers. They seem to be of the same period. All seen by the author 
came from Syria. These ribs are sometimes fin-like and were apparently produced in 
a mould.—Text Fig. 147, IV. 
¥ARS WITH RIBS AND FLUTINGS, 2d TO 3d CENTURY A. D. Of the 
same general technic and matrix as the sprinklers of this period, especially those 
with vanishing ribs. Metropolitan Museum, one with waved and pinched prolonga- 
tion of the handle extending over the lip rim. Syria.—Pl. 88; Text Fig. 147, V. 


334 


SPHERICAL FARS WITH ROUNDED BASE. Several types, some with full 
mouth and wide neck, others with narrow, low neck and comparatively narrow 
mouth. Some without handles, others with dolphin handles between rim and shoul- 


AX 

KYO) 
XOX 
KX 


RAY 


Fig. 147. I-III, Ampulla sprinklers, 2d to 3d century. The inner diaphragm is indicated 
though not generally seen from the outside. Moulded or applied decorations, 
mostly from Syria. 


Fig. 147. IV, Low Ampulla bottles without diaphragm. Syrian 2d to 3d century A.D. 


WOZ6UO 


Fig. 147. V, Ampulla jars, 2d to 3d century A.D. All except the first from Syria. 


der. Some decorated with circular bosses, others with concaved lines in spiral 
diagonal direction around the body, others again are plain. All possess double collar 
rim. Those the writer has examined came from Syria. Date uncertain, but probably 


335 


ad to 3d century A.D. Kisa reproduces them (Figs. 60, 61, 62) but does not date 
them with certainty. Those with single rim are possibly of the Ist century A.D. 
WIDE ARS WITH HANDLES. Heart-shaped body, contracted low neck and 
full, wide mouth opening with rim. Two minor loop handles. Syria. Violet matrix. 


BLOWN PITCHER JAR 


Height, 2.63”. Diameters: mouth, 2.1’ ’. body bulge, 2.3”; base, 1.7”. Material 
thin, transparent, uncolored and untinted glass. Mrs. W. H. Moore Collection, 720. 

The form is that of a pear-shaped jar, with wide mouth contracted but low neck, 
and a low foot ring. One handle, between lip rim and shoulder, with an upper, up- 
right and a lower horizontal thumb and finger rest. Rim flat with inner ring. Blue- 
ish steel lustered patina with metallic iridescence—Pl. 94. 
DEEP BUT NARROW BOWL {ARS WITH RIBS. The forms resemble bags or 
purses. Low and narrow ribs produced by moulding. 


BOWL VASE WITH WIDE MOUTH AND ADDED THREAD RIBS 


Height, 3.54”. Diameters: opening, 2.2”; girdle region, 3’; base, 1.5’. Mrs. W. 
H. Moore Collection, 661.—PI. 88, a. 

Material pure uncolored glass, with very thin walls. 

Form is that of a truncate ovoid cup with slightly flaring mouth rim. Almost 
truncate pear-shaped. 

The decoration consists of nine added perpendicular thread ribs compressed and 
drawn upwards by pincers all along their outlines. Or the bubble was blown in a 
mould and the ribs, being too low, were pinched and drawn out afterwards. This vase 
has much in common with the ivory paste bowl cup with dragged technic described 
and figured elsewhere in this book. The matrix is the most delicate possible, 2d 
century A.D. 

THE PATELLA CUPS OF THE 2d CENTURY A.D. These cups differ from 
those of the rst century by possessing a double, overfolded, downward-projecting 
lip collar, which undoubtedly has the advantage of preventing the cup brim 
from slipping in the hands of the one making the sacrifice. They are never made of 
ivory paste glass, but generally of violet, uncolored or of blue glass. Apparently 
blown and not moulded, and not finished by grinding, so far as known. Their form 
is less delicate, rarely based on the dynamic symmetry, but sometimes on the 
static or square diagram. But one single cup of those measured was based on the 
root-2 rectangle, with the lower end of the rim passing through the two upper 
eyes, and with the base determined by the perpendiculars passing down the two 
centers, right and left. In this specimen the collar is especially large and carefully 
formed. All cups the writer has examined came from Syria. The form existed in 
pottery of the 2d century but with a slight variation in the slope of the lip, which 
is upwards.—Fig. 148. 

336 


°961 AONVd AAS “NOLLOATIOD AUOOP *H 
"M ‘SUA ‘VUW NVLSNONY “SdND SN.LO'T GNV VITALV SsvT5) Olvsoy] “AJ ILVIg 


Plate 85. Sprinklers with 1 1 
a inklers inner diaphragm. Mrs. W 1 i 
University of Pennsylvania een ene emai 2% 


S30 


Plate 86. Blown and moulded sprinkler, Syrian. Fahim Kouchakji Collection. About 2d 
century A.D.—See page 334. 


341 


Plate 87. Syrian sprinklers with inner diaphragm, 2d to 3d century A.D. Fahim Kouchakj1 
Collection.—-See page 334. 


343 


Plate 88. Jars with moulded or applied ribs. About 2d century A.D. Mrs. W. H. Moore 
Collection, 2; Metropolitan Museum, —e.—See pages 334-336. 


345 


Plate 89. Ampulla flasks, 1st century A.D. to end of 2nd century A.D. Mrs. W. H. Moore 
Collection. Syria. Carinated type, a; also found in the Naples Museum, from 
Pompeii.—See pages 292, 371; Text Fig. 129, I. 


347 


Plate go. Ampulla flasks, Ist and 2d centuries A.D. Mrs. W. H. Moore Collection See 
pages 292, 370. 


349 


"Qo, Oe Ea ee 
_* 
oe 
sf 
e 
4 
Ld 
; 
" - 
‘ 1 
\ . 


Plate gt. Patella sacrificial cups, 1st and 2d centuries A.D. Mrs. W. H. Moore and the 
Metropolitan Museum Collections, a, 4; amphorisk with bracelet lip made of 
bluish ivory paste glass, probably Ist century A.D. Syrian.—See pages 36, 355. 


35! 


Plate 92. Cantharus cups. Dates uncertain, probably 2d to 3d century. Mrs. W. H. Moore 
Collection.—See page 355. 


Sie) 


PATELLA CUP WITH BRACELET RIM 


Height, 1.7’. Diameters: base, 2.4’; lip rim, 2.9’. Mrs. W. H. Moore Collec- 
tion. Syria.—PIl. 91. 

Fine violet-brown glass, bubble-blown. The wide double collar overlaps the lip 
rim as in most of the 2d century cups of this type. The bracelet rim is exteriorly 
concave in the center, with the lower third projecting over the body proper. This is 
the main distinction between the 2d and the Ist century patella cups. The 2d cen- 
tury cups are never based on the dynamic symmetry so far as now known. 


a 7 
a ia 


Fig. 148. Patella sacrificial cups, 2d century A.D.—Pottery after Koenen, XIII, p. 88— 
and Oswald and Pryce, LXXII, a to d—glass, Syrian. All furnished with heavy 
collar rim, ¢, f. 


SACRIFICIAL CUPS WITH A SPOUT. Small cup about 3” wide, with a small 
lip spout and a dreg rim to catch the sediment. Base often deeply raised from below. 


WIDE BOWLS WITH LOW FOOT-RING AND COVER. This type consists of a 
low wide body, the rim of which is decorated at opposite ends with petaled or fluted 
finger guards. Some are furnished with a cover. The one figured is in the Gorga 
Collection in Rome, Italy. The type is intimately related to the plate-bowls made 
of pottery, figured by Koenen, XVI, Fig. 27, and by Oswald and Pryce;VE-UVIiL 
who date these potteries to the 2d century. They probably came into being toward 
the end of the rst century. The form varied from a bowl to a tray and the decorations 
from horizontal to slightly raised.—Fig. 143, a. 

CANTHARUS FORMS WITHOUT HANDLES. Flat and low cups with out- 
ward-flaring rim are not common in antique glass. Kisa does not describe any, but 
reproduces two in his Table G, Nos. 422, 426, but without references. Those in the 
Moore Collection are of elegant form and of good glass. They are strongly covered 
with peeling iridescent patina similar to cups of the 2d century in general; hence 
they are temporarily grouped here. The one with the nodus or knob is probably the 
latest, possibly of the 3d century A.D. It has the form of a stemless cup with 
large base ring, to which a stem and foot were added. All may, however, have been 
made at the same time. Probably Syrian—PI. 92. 


S00 


CUP WITH STAND—-BUBBLE-BLOWN OF A THIN GREENISH GLASS 


Height, 2.8’; diameter of top, 4.53”’. Mrs. W. H. Moore Collection.—PI. 92, a. 

The form is that of an elegantly designed sacrificial cup furnished with a foot and 
short stand. 

Material: very thin glass, with patina and iridescence in the central parts. Blue- 
green glass for the foot, yellowish for the cup. 

Technic: the cup proper seems to have been bubble-blown in a mould, and fin- 
ished on a turntable, which technic resulted in a thick edge to the rim, with several 
concentric rings near the edge. There is also a wound spiral curved line around the 
body from rim to base. 

The foot disk is circular, with funnel-shaped cavity from below, the stem is very 
low and is made of a hollow tube pushed into the base of the bowl. Even the foot 
disk seems to have been moulded. One of the most delicately formed specimens of 
this type known. Probably Syrian. 


BUBBLE-BLOWN CUP WITH FOOT-STAND 
AND REVERSED CENTRAL COLLAR 


Height, 4.25’’. Diameter of top, 5.72’; of cup below rim and at interior opening, 
4.4"; of cup at girdle, 4.2”; of cup at base, about 2.2’; of reversed shoulder guard 
of stand, about 2.8”; of nodus of the stem, 0.7”; of foot-ring, 2.7’. 2d century A.D. 
—PI. 92,4. Mrs. W. H. Moore Collection. Probably Syrian. Material, thin trans- 
lucent greenish tinted uncolored bubble-blown glass. 

Technic: probably blown in a mould and finished by turning, judging from the 
several concentric rings around the lip flare. 

Form: the form is that of the calix with wide lip turned outwards, and with 
rounded bowl base. 

The stand is remarkable, with a narrow foot disk witha very low and narrow stem, 
consisting of two nodi or knobs one above the other. At the lower part of the bowl 
projects downwards a shoulder or bracelet guard which partly conceals the upper of 
the two knobs. 


CYLINDRICAL BEAKERS AND GOBLETS, FIRST CENTURY A.D. 
TO THE ARABS 


Numerous beakers and goblets are in our museums, but nearly always without 
date or even locality. Many are, however, from Syria. They comprise the following 
main types, which merge into each other.—Text Fig. 149, I-V. 

CYLINDRICAL GOBLETS WITHOUT BASE RING AND FOOT-RING. ist 
century A.D. Common in Pompeii and Tripoli, Africa. 

BEAKERS WITH SLIGHTLY BULGING SIDES AND MOULDED FIGURES. 
Mostly from Pompeii and Syria, 1st century A.D. Already described.—Fig. 130; 


Pl. 63. 
356 


Fig. 149. Beaker types from 1st century A.D. to Arabs.—I, Egyptian and Sidonian, a— 
Pompeii, 4; II, 2d century A.D., see Kisa, note, p. 13, and Table B, 81— 
Syrian, ¢; I11, Common type with ground decorations, 3d century A.D.; IV, 
Beakers with engraved lines, 3d to 4th century A.D., Europe and Syria; V, 
Beakers, 4th and 5th century A.D., Merovingian, Gaul, Rhine, Syria. 


357 


BEAKERS WITH CARCHESIUM OUTLINES BUT WITH SIMPLE FOOT 
RING. The body contracts from the rim-lip towards the base, but just above the 
foot it bulges out like the body of a carchesium. Pottery vessels of this form, or 
approaching this form are dated by Koenen to Tiberius (Pl. XI, Fig. 2), which sug- 
gests that they may all belong to the Ist century. In that case the Moore beaker, 
No. 697, belongs there, Ie. (Text Fig. 149.) Also called “carinated.”—PI. 93. 
BEAKERS WITH BUCKLED SIDES. 1st to2d century A.D.Common in Pompeii. 
—Text Fig.149, I e—PI. 69. 

SLIGHTLY TAPERING BEAKERS AND GOBLETS WITH LOW FOOT-RING. 
With engraved horizontal line bands. Probably 2d-4th century A.D., Kisa, Table 
E, 282-286. 

VERY NARROW CYLINDRICAL BEAKERS WITH GROUND SURFACE. 
Probably 1st to 2d century A. D.—Fig. 149, Il a, IIa, 3. 

CYLINDRICAL BEAKERS WITH HORIZONTAL THREADS, AND SOME- 
TIMES WITH RINGS SUSPENDED FROM EYELETS. 3d to 4th century 
A.D. Fig. 149, IV/. 

BEAKERS WITH GROUND-OUT DECORATIONS, HEXAGONALS OR CIR- 
CULAR DEPRESSIONS. These seem with certainty to come from 3d century 
tombs, both in Syria and Europe. In Scandinavia they are found also in later 
tombs.—Fig. 149, III a, 4. 

BEAKERS WITH APPLIED DECORATIONS OF PETALS, TRIANGLES, 
BOSSES, SHIELDS, ETC. 1st to 4th century A.D. Fig. 149, I, V. 

BEAKERS WITH CRENULATED BASE RING. 2d to 3d century A.D.—Text 
Fig. 149, II ¢-—See Figs. 150, 165, 3. 


oaor 


Fig. 150. Beakers with crenulated base ring. Principally 2d century (compare Kisa, note 
p- 13, Table B, 81). 


TUMBLERS, BEAKERS AND GOBLETS WITH ROUNDED BASE, SO 
THAT THEY CAN NOT STAND UPRIGHT WITHOUT A HOLDER. Mostly 
4th century A.D.—Fig. 149, IV g. 

BEAKERS WITH BULGING BASE. 4th to 5th century A.D., Fig. 149, V 4, ¢. 
BEAKERS WITH POINTED BASE, LIKE FUNNELS. 4th to 5th century 
A.D.—Fig. 149, V e. 

BEAKERS WITH STRONGLY FLARING RIM. Downward-tapering body. 
Mostly decorated with gold and enamel. Arabic, from 12th century A.D. to later. 
BEAKERS WITH TAPERING BODY, FLARING NEAR THE RIM BUT 
WITH THE RIM REGION CONTRACTED. Decorated with gold designs and 
enamel. Arabic.—Fig. 276. 


358 


CYLINDRICAL BEAKERS WITH CONTRACTED MOUTH RIM. A varia- 
tion of the two last mentioned types. Arabic—F ig. 276. 

DATES OF THE ANTIQUE BEAKERS AND GOBLETS. But few of the beaker 
forms enumerated are dated with absolute certainty. Those, however, found in 
Pompeii form the exception as they seem in the main to belong to the 1st century 
A.D. Still we must guard against the belief that everything found in Pompeii was 
made previous to the destruction of the city. Many objects claimed to have been 
found in the ruins in reality come from later tombs made on or near that site. On 
account of the uncertainty of the dates of the antique beakers, or drinking glasses, 
we have preferred to consider them all together, reserving the privilege of mention- 
ing some of the later and better forms separately. 


PLAIN BLOWN CYLINDERS WITH PLAIN RIM 


Base without foot-ring or stand, flat, rounded margin, thin, blown, walls with a 
sharp, slightly outward-flaring lip rim. The most common and simplest type in 
Pompeii, and in the 1st century chamber-tombs of Tripoli. Tripolitania, Africa. 
ext Pig. 126. Pl. 6s, IT. 


CARCHESIUM BEAKER OF BUBBLE-BLOWN GLASS 


Height, 3.33”. Diameters: top, 3.25”; shoulder, 2.4”; base of body, 1.27’; base 
ring, 1.55’, Mrs.W. H. Moore Collection, 697. Syria —PI. 93. 

Material, translucent, slightly greenish yellow glass. 

A carchesium goblet, consisting of an upward widening body set ona conspicuous 
shoulder-ring near the base. The body continues to the very base ring, tapering, with 
a central rise from the shoulder to the base. The base ring is very small, narrow and 
low in the Ist century style. 

The upper edge is slightly turned inwards, but finished off by grinding. The base 
is beautifully concaved, as if placed on a mould after finishing, but shows no sign of 
grinding. 


BUBBLE-BLOWN CYLINDRICAL TAPERING BEAKER 
WITHOUT FOOT-RING OR BASE 


Height, 4.2”. Diameters: top, 1.9’’; base, 1.4’. Mrs. W. H. Moore Collection, 
708.—Pl. 93. 

Material: uncolored, slightly tinted yellowish green glass, quite translucent. About 
0.1” in thickness. 

Technic: Apparently blown glass but finished by grinding. The two slightly con- 
cave bands around the exterior produced by turning and grinding. The lower is a 
little below the center. 


5o2 


BEAKERS WITH CRENULATED FOOT-RING. This includes a large series, 
some moulded with arches, others formed free or moulded with applied decorations. 
The latter consists of circular bosses or knobs, spiral or ear-shaped bosses, pine 
scales. Similar beakers were made by German glass blowers during the Renaissance, 
according to Schmidt, Catalogue Berlin Museum, but whether or not the one he 
figures is modern as he claims is uncertain. A vessel with crenulated base is in the 
Pompeian collection of the Naples Museum. Those illustrated in the text are cer- 
tainly antique, even if the date is vague.—Fig. 149, II, d-e. 

DATE OF TYPES WITH CRENULATED FOOT-RING. It has already been 
mentioned that the crenulated foot-ring occurs on many types of vessels of the 2d 
century A.D. but that the early and late limits of this group are not well defined. 
Whether this base developed from the crenulated ribs or crenulated downward 
prolongations of the handles is not known; still the connection is evident. It con- 
tinued into the 3d century.—Fig. 150. 

VESSELS WITH FORMED APPLIED LOTUS BUDS. The same decorations 
found in moulded ware were also made separately, by moulding, by carving and 
stamping and applied separately to the body of the vessel. Some have been found 
in Pompeii, others in Gaul, the Rhine valley and elsewhere. Kisa, Fig. 139, p- 6363 
138, p. 639; 272, p- 638.—Text Fig. 132. 

Among the applied units we find especially lotus buds and rosettes, but also tri- 
angular decorations intended perhaps to represent petals. Compare Kisa, Fig. 40, 
p- 639; Fig. 142, p. 639, respectively from Bonn, Pompeii and Rouen. 
CANTHARUS GOBLETS WITH ORWITHOUT HANDLES. Stem goblets are 


WIE Ide 


Fig. 151. Cantharus and carchesium types, Ist to 4th century A.D.—The Hermitage 
vase, silver over glass, 1st A.D., a—green glass, Cologne, 2d A.D., 6—the Tor- 
rita vase carved on a cameo, c—represented canthari, catacombs of Pratextatus, 
first half of 3d century A.D.—same place, but first half of 4th century A.D., f— 
blue glass chalice from Amiens, British Museum, 4th century A.D., or earlier, g. 


rare in the 2d century, but a few have been found. The best known is that illustrated 
by Kisa, made of green glass and decorated with serpent threads. Except for the 
absence of handles it resembles the cantharus represented in cameo on the Torrita 
cantharus. (Described by Lovatelli. Also by Kisa, but incorrectly copied, Fig. 
192, 4.) For comparison we include three representations from Roman catacomb 


drawings.—Text Fig. 151. 
360 


BUBBLE-BLOWN AMPHORA WITHOUT BASE RING 


Height, 7.1’; diameter at shoulder, 2.8”. Mrs. W. H. Moore Collection, 685. 
Syria.—Pl. 94. 

Matrix translucent blue-green tinted glass, with the handles of a slightly darker 
shade of green. 

The form is that of a typical Greek amphora with tapering body and with tall 
neck. Intended always to rest in a tripod stand. The handles are made of a streaked, 
flattened rod, about 0.25”” wide, somewhat sigmoid, connecting the shoulder of the 
body with the center of the neck. The upper part of the handle is a flat shield, the 
lower end is turned upwards and inwards. 

The matrix is covered with ivory colored patina over the handles and in some other 
places.—Text Fig. 152. 


Fig. 152. Amphorisks of 2d century A.D.—Brooklyn Museum, a—Gorga Collection, 3, ¢ 
—University Museum, Philadelphia Museum, Journal, 1918, 4, 2—Mrs. W. H. 
Moore Collection, e. 


PROCHUS FLASKS. PEAR-SHAPED FLASKS WITH LOW NARROW BASE 
RING. These peculiar flasks appear in the end of Ist to 2d century, according to 
Kisa, p. 386. They are certainly related to the Sidonian Bacchus flasks with pear- 
shaped base of the same period. The body has the shape of an inverted funnel. The 
single handle is continued downwards as a serrated tail. The upper end of the 
handle often ends some distance down the neck.—Text Fig. 153, I. 
PITCHER-FLASK WITH PLAIN OR FLUTED BODY. Height about 8.9”. 
Material, beautiful bubble-blown blue glass. Syria. The form of the body is elon- 
gated pear-shaped, with a low base ring with sloping sides. The body emerges 
gradually into the neck, which is short and narrow and in turn gradually emerges 
into the funnel-shaped mouth. The handle is sometimes characteristic, being bent 
into a triangular loop, the tail part reaching to the base, exactly as in the Faun vase. 
FLASKS—HANDLE ENDS ON THE CENTER OF NECK. A very large class 
of flasks continue uninterruptedly from early 2d to late 3d century, having various 
types of neck. It is not possible to determine the exact chronology, and no records 
exist of other objects found in the tombs. They seem to be promiscuously dated by 
Kisa to 2d and 3d centuries. 
361 


The type seems to exist both in Syria and Germany. It is intimately connected 
with other types. For instance, some can be referred to the class decorated with 
horizontal serpent threads, others to those with upright serpent threads. Others of 
the same form possess no handles, but still belong to the same general class. 

Some have no base ring or stand, others are flat based, others again possess a low 
stand with nodus. Amphorisks are also found with similar handle endings in the 
2d century A.D. The most certain date of all these glass flasks is derived from pottery 
flasks of the same type, some being illustrated by Koenen, Pl. XVI, 16, and dated 
by him from coins of the early Antonines, 2d century A.D.—Text Fig. 153, II. 
SLENDER FLASKS WITH SMALL NECK HANDLES. The body elongated 
pear-shaped, very slender necks, with the slender handle forming a loop on the neck 
itself. Probably 2d century A.D. Roman collection, probably from Germany. 
Compare Koenen, XVI, 16.—Fig. 153, III a, d. 


ARAL 


Fig. 153. 1, Prochus flasks, early 2d century A.D., German tombs (Kisa, Fig. 252-256, 
322). 


ISS hee 


Fig. 153. II, Prochus flasks and related types, 2d century A.D.—Syria, a—Rhine valley, 4, 
c, d, e—Gorga collection, f. Note the angular handles, 


AMPULLA FLASKS WITH TAILED, ZIGZAG HANDLES. Single or double 
loop handles ending on the middle of neck. The tail of the handle continues down- 
wards. In some the handles end on the lip. 2d to 3d century.—Fig. 153, III. 

SLENDER FLASKS WITH A MASK BELOW THE HANDLE. Body is oblong 
pear-shaped, handle ends on the neck. Mouth is simple or slightly widened. Body 
striated,a slender handle, below which is sometimes a mask of a lion or human face. 
Kisa dates the type to the 3d century, but judging from the form this seems too 
late. The author here temporarily places them in the 2d, which seems more proper. 
A similar flask without mask disk is placed by Kisa in the 2d century.—Fig. 153, III. 
MERCURY BOTTLES. Four sides, narrow, slender neck, base stamped with a 
figure of Mercury or with Roman letters, birds, genii, Fortuna, horns, horse, ivy leaf, 
trees or athletes. The single figure is always in low relief, placed on the bottom of 


362 


Plate 93. Glass beakers. Carinated 1st century A.D., a; cylinders, b, c, d; 3d to 4th cen- 
tury A.D. Mrs. W. H. Moore Collection. See pages 356, 3575 426. 


363 


Plate 94. Syrian types. Mrs. W. H. Moore Collection. Amphorisk, about 2d century A.D. 
The others rst to 2d century A.D.—See page 361. 


365 


bottles, which were used for unguents or oils at the bath. Some found with coins of 
Commodus, but Kisa dates the majority to the 3d century. Mostly from the Rhine 
valley. (Kisa, p. 782.)—Text Fig. 67. 

STAMNIUM FLASKS. Cylinder flasks without special foot-ring or stand, with 
one or two handles, some rounded, others with flat band handles. Mouth funnel- 
shaped or flat, generally with rim collar; body mostly plain but also decorated with 
serpent threads or geometrical engravings in lines and ovals, the engraved ones being 
of the 3d century A.D., the plain ones mostly of the 2d century A.D. The stamnia ex- 
tend over a long period, beginning with the 1st century A.D. but most specimens so 


tiaras 


Fig. 153. ILI, Flasks with handles on a central neck band, 2d to 3d century A.D.—Rome 
collection, 4, 4—Metropolitan Museum, c, d—Cologne, e—Syria, g—pottery 
(according to Koenen, XVI, 16, 2d A.D.), 4, i—3d century A.D., Kisa, Table 
Cor7s; 7. 


far found date from the 2d to 3d century A.D. With the cenochoe or wine flask, the 
stamnia are the most common flasks of antiquity and with more detailed study 
dates can probably be separated. Fig.154. A very well-dated Ist century stamnium 
type is represented on the tombstone stela of M. Valerius Celerinus, found in Spain 
(Kisa, Fig. 14). It is represented together with a cup with horizontal handles, like the 
Augustus vase, a type which is never found after the 1st century A.D. For compari- 
son we have enlarged these reliefs by which four distinct types may be dated.—Text 


Figs. 154, 155. Posed pees: 
WoO 


Fig. 154. Represented vessels, Augustan era. Stela of M. Valerius Celerinus, Spain. 


FRONTINUS STAMNIA, OR BARREL FLASKS. From the latter part of the 
ad century A.D. continuing until the early part of the 4th century A.D. we find in 
Gallic and Rhine valley tombs a series of stamnium flasks which possess the body 
form of a barrel with hoops but with the addition of a narrow neck and one or two 
handles. The under side of the base is stamped Front, or Frontiniana, which gave 
Kisa a clue to the theory that they came from a factory owned by the family Fron- 
tinus. In the typical and stamped specimens the body is blown in a mould, but some 
of the less pretentious in the series were plain and simply decorated with threads to 


367 


imitate the hoop bands of the barrel (Kisa, p.787, Figs. 57, 324, 324@). Another series 
resembles barrel canteens with side handles, such as are yet used in the country dis- 
tricts of Scandinavia and Germany for carrying liquid to the field (Kisa, 58, 59). 


aOUUUUB 


Fig. 155. 1, Cylindrical flasks, stamnia.—Cologne, Kisa, Fig. 121, a—New York, Brooklyn 
and private collections, probably Syrian, 2d century A.D., 4 to g. 


Fig. 155. II, Stamnia, 2d to 3d century A.D. German tombs, except ¢, Gorga Collection, 
Rome, Italy. 


Fig. 155. III, Barrel flasks, Frontinus stamnia.—Kisa, 57a, a—Metropolitan Museum, 2d to 
4th A.D., 4—Cologne, Kisa, 57, c—canteen flasks, 4th century A.D., 2, e— 
amulet case, Syria, f. 


Connected with these two series are the amulet cases, also of glass, resembling small 
barrels, but of diminutive size and used apparently for necklaces. In these the thread 
passed to a side eyelet in the manner shown in the figure. These amulets all come 
from Syrian tombs of the 4th century A.D.—Text Fig. 155, II. 


368 


_ a 


CYLINDER FLASK WITHOUT HANDLE 


Height, 3.55’’; diameter of body at shoulder, 1.9”. Mrs. W. H. Moore Collection. 

Translucent uncolored glass of great purity, strongly oxidized and with flaking 
patina of opaque white. Steel blue iridescence elsewhere. 

A downward-tapering cylinder, with nicely rounded shoulder and base. The shoul- 
der is flat, rounded merely at the edge. The neck is quite low and narrow, about 
0.8” wide by 0.5” high. The mouth flange is thick and rounded over the edges. 

: The base is slightly concaved upwards. The whole was bubble-blown and hand- 
ormed. 


BLOWN FOUR-SIDED JUG 


Height, 4.1’. Diameters: top, 1.7; narrow of body, 1.7”; width of body, 2.2”. 
Mrs. W. H. Moore Collection, 713. 


Matrix coarse, natural blue-green, translucent glass. 


A four-sided column with two sides wider. The neck is low and contracted, super- 
imposed by a flat-in-center ringed lip-rim. There is a short but wide ribbon handle 
from the under side of the rim to top of shoulder. The decorative part is confined to 
one concaved shallow oval depression on each side. 


CYLINDER FLASK—STAMNIUM FLASK 


Height, 6.8”; diameter at bulge, 2.8’”; handle, widest part, 1.3’”. Mrs. W. H. Moore 
Collection, 684.—PI. 94. 

Very fine translucent uncolored glass without any perceptible tint. Technic, 

bubble-blown. The flat handle was added. The form is that of typical 2d century 
Syrian glass of cylinder shape, formed in the bubble. The mouth is funnel- 
shaped, with flat horizontally creased lip rim. A narrow neck with inward-swung 
sides, a sloping shoulder and a cylindrical, slightly downward-tapering body. The 
handle is typical, flat, composed of three parallel strands, or flattened rods, convex 
on both sides. The form of the handle is a reversed, flattened ‘“‘C” between shoulder 
and lip-neck. 
THE AMPULLA FLASKS OF PLAIN GLASS. At present the exact date of 
these spherical and pear-shaped flasks can not be absolutely determined. In general 
it can be said that in these types the forms are not well established except in the 
finer types. In seeking the date the glass matrix must first be considered; the lip rim 
also furnishes a general clue after the end of the 1st century. Still there can be little 
doubt that with time even these less important flasks and bottles can be precisely 
dated. For the present, the general period, Ist to 3d century A.D. must suffice. 


369 


AMPULLA BOWL FLASK 


Height, 11.05”; of bowl part, 3.7”. Diameters: neck and funnel, 3.8”; funnel, 1.7”; 
bowl, 4.1’. Mrs. W. H. Moore Collection, 716. 1st century A.D. Matrix uncolored 
transparent glass covered with scarred and bark-like patina, intensely iridescent. The 
body is spherical. The cylindrical neck merges gradually with the funnel rim.— 
Pl. go. 


BOWL FLASK WITH FLATTENED BOWL BODY 


Height, 1.53’; diameter of bowl bulge, 1.43’. Mrs. W. H. Moore Collection, 725. 
—PI. 90, e. 

Material, thin, uncolored pure glass covered with a golden yellow patina and 
brilliant iridescence. 

The form of the bowl is that of a flattened onion, the neck is without any bulge or 
swelling, tapering gradually from top to shoulder. The mouth is funnel-shaped of 
moderate size. 


s 


BOWL FLASK OF PLAIN GLASS 


Height, 2.3'’; diameter of body at bulge, 1.8’. Mrs. W. H. Moore Collection, 615. 
—PI. 89, d. 

The material is opaque glass apparently greenish gray, covered by a thick ivory 
yellow patina. 

The form is that of a wide and short pear, with narrow neck and a narrow flat lip 
flange. The neck is contracted at the shoulder as well as at the top. 


AMPULLA BOTTLES WITH TALL NECK AND LIP FLANGE. VIALS. 
The common flasks or bottles of the second series are endless in variety of form,neck 
and lip. They are less graceful, of coarser material and with heavier lip rims than 
the older types. 


VIAL WITH PEAR-SHAPED BODY 


Height, 3.7”; diameter of body at base, 1.5’. Mrs. W. H. Moore Collection, 663. 
Material is thin, light-weight glass, uncolored, transparent.—PI. 89. 

The form is that of a pear-shaped ampulla with body higher than the neck part. 
The neck slightly tapering with lower bulge above the usual contraction. The lip 
ring is small but distinct. 


VIAL WITH DISTINCT NECK AND WIDE LIP 
Height, 2.4’; diameter of body bulge at base, 1.1’. Mrs. W. H. Moore Collec- 
tion, 675. 
The matrix is greenish tinted glass, very heavy at base but with no special base 
ring. 


37° 


—— 


The form is characterized by a wide flat lip flange, a cylindrical neck with lower 
bulge and contraction, and by a pear-shaped body, which contains a heavy base- 
drop or pad. The top of the lip flange is folded in at the edge. 


VIAL WITH PEAR-SHAPED BODY AND CYLINDER NECK 


Height, 4.35’; diameter of body at center, 2.3”. Mrs. W. H. Moore Collection, 667. 
Matrix heavy, thick, uncolored transparent glass. Blown from a bubble.—PI. 89. 

The form is that of a pear-shaped ampulla with narrow cylinder neck, a narrow, 
low lip flange, a body in which the diameter of the bulge is situated near but not at 
the base. 

The decoration consists of an impressed narrow band a trifle above the bulge of 


the body. 


FLASK WITH PEAR-SHAPED BODY AND 
THICK CYLINDER NECK 


Height, 4.65’; diameter of body at base, 2”. Mrs. W. H. Moore Collection, 706. 

The form is that of an ordinary ampulla with cylindrical neck, heavy thick lip 
flange and a short pear-shaped body without foot ring. 

The material is thick, heavy slightly greenish tinted translucent glass, heavy 
with cream colored patina and iridescence. 

The base is slightly concaved. 


FLASK WITH CYLINDER NECK AND CARINATED BODY 


Height, 8.75”. Mrs. W. H. Moore Collection, 686.—PI. 89. Probably Syrian. 

Violet-brown glass with tall cylinder neck ending upwards in rod collar. Similar 
flasks but seemingly with plain mouth rim have been found in Pompeii and are now 
in the Naples Museum. The type is very rare but a specimen from Syria of the same 
general form but with ground-down surface was measured and found to have been 
based on a root-3 rectangle. It was apparently made of pad-glass and tubes, and 
could accordingly be dated to the 1st century A.D. It might be that the Moore 
flask is of the same date. The peculiar cup-shaped base of the body is also charac- 
teristic of the carchesium beaker, Pl. 93, from Syria. 


WINE FLASKS OR @NOCHO OF THE 2d CENTURY. The wine flasks of 
the 2d century A.D. vary considerably in type, but the following forms have 
been recovered in whole series: 

Heavy-set forms with plain body, comparatively small, double or single lip rim 
and one loop handle. The date was already established by Otto Jahn (Bonn. 
Fabrb. 34,70, 4. 1863, p. 229) to first half of 2d century A.D. Fig. 156, I, a (Jahn’s 
figure); 4, c,d, from Syria. 


371 


Tall, slender forms with narrow base, heavy floreate mouths much wider than the 
base. Some as high as 15 to 18 inches. Found both in Syria and Germany. Mostly 
made of uncolored glass, but colored matrix flasks are also known. Yellow with blue- 
green handles, base, lip-rings and neckband is common in most of these types.— 


Text Fig. 156, II. 


Fig. 156. I, Wine and oil flasks, middle of 2d century.—After Otto Jahn, Bonn. Jahrb. 4, 
1863, a—Roman collection, 4, ¢, d. 


Uo) 


Fig. 156. II, Tall, tapering wine flasks—Mouth with double collar or floreate lip, Ger- 


many aad Syria. 


an 


Fig. 156. III, Wine and oil flasks, middle of 2d century—Gorga Collection, probably 
Syrian. 


Pear-shaped or spherical body with slender, but not tall, neck decorated with a 
neckband. Handles mostly flat, blue-green. Some have two handles, sometimes end- 
ing at the center of the neck. With plain or crenulated foot ring.—Text Fig.156, III. 


372 


Type similar to the last mentioned, but the flask is compressed sideways, being 
pear-shaped in one direction, but almostcylindrical in the other.—Text Fig.157,a-c. 
Squatty pitchers with a single handle, wide mouth with narrow lip rim, flat 


AF by 


Fig. 157. Wine flasks and pitchers.—Syrian, a, 6, c—after Kisa, 113, 118, Germany, but 
rare in Syria. 


handle, rather wide neck. Body decorated with overlaid threads in form of serpent 
windings or palm leaves. These are pitchers rather than flasks.—Text Fig. 157, d,e. 
First half of 2d century A.D. 


GETTY RESEARCH INSTITUTE 


aah i os ta 


